Descriptive analysis of the Rembrandt painting “Descent from the Cross”

Formulation of the problem. 1630-e years – a time of creative maturity of Rembrandt. As a true artist, he is a tireless search for new stories, new expressive means. In ten years, it has created more than 270 paintings. In many paintings of Rembrandt scenes, evangelical legends like scenes from the life of simple people c interpreted their earthly experiences. In addition, the characters of writing often dressed in civilian contemporary Rembrandt Dutch. This makes the work of great masters of authenticity, liveliness. Remarkable in this regard is the Hermitage paintings “fall from the cross”, to 1634 refers.

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This story has also been used by many artists such as Rubens (“Trash of the Cross”, around 1611-1619, the cathedral in Antwerp). Rubens is characteristic of the spirit of theater joyous excitement, idealization. The characters, especially women – in fine clothes, their imaginative poses, impassive mimicry. The body of Christ, with well-developed muscles, still full of vitality. The biblical legend of Rembrandt is quite different. The aim is primarily to reveal the depth of human experience. Especially expressing group of women lost her mind at the sight of a dead son of Our Lady, the artist portrayed in the simple human attire to support. Christ’s body seems exhausted, emaciated. On the face of the character – an expression of deep tragedy. How many would not have written about Rembrandt, each epoch creates the problematic area of culture that finds place and Rembrandt. The problem is thus the work of Rembrandt’s “fall from the cross”, based on the previous experiences of the study of this picture.

In the picture, there is a plaque recitation and purely baroque loftiness. Rembrandt uses a variety of tools that allow him to visualize the image. He chooses and large format to explore the baroque style, improves the decorative lace in its picturesque way. Rembrandt made as an artist, boldly breaks c accepts the ideals of beauty, like Italian and Dutch, to recognize his only mentor of vital truth. The face and naked body of Christ is extremely ugly and individual, but the depth and charm of the interior make the image of Christ soulfully beautifully treated. Compared with the Italian Renaissance master, Rembrandt pushed much the limits of the aesthetic ideal to see the life and the usual fine individual. Meaning of “waste of the cross” is not limited to the victory gained in this work, Rembrandt realism. Especially because this victory was not completely far from it.

This work is of great interest, also because it reflects the process of the formation of personality assistants, a process in which Rembrandt c baroque relationship is not the last place. The thirties was a period in which crucible of the creative consciousness Rembrandt around him melted many art experiences and impressions of the reality. After years of silence Leyden, she could not overpower it in Amsterdam, the largest port of this time the center of the world trade in general and in particular antiquity. The master took these impressions proves not only by his works, but also his collection for the wealth and the diversity striking.

The spiritual life of the XVII century an important place occupied by the notion, influenced by the human emotions. The philosophers have written treatises on them; artists have portrayed them in his pictures; they are the subject of controversy and discussion. Show Christ Rembrandt is adhering to all of the same set of interests. B general sense of their task belongs to the era, but the decision, it bears the stamp of the personality of the author. In comparison, distracted and smoothed as it is played in the theater of affects that can be seen in the works of Lastman and many of his contemporaries, Rembrandt’s feelings influence the naturalness and vitality. The artist is not out of the conventional scheme, a life. B the following years, the image problem of emotion in the art of the Rembrandt is of central importance. His portrayal of the spiritual world of man and the aesthetic possibilities of painting enriched with astonishing speed. The legacy of the painter Rembrandt consists mainly of portraits and paintings of biblical, evangelical, mythological themes; these pictures and the XVII century called “stories”. Quantitatively dominated by portraits, but the leading role played by the master himself, of course, the “story”. In general era culture of his passion for the biblical theme is self-explanatory; they are only required in the context of Dutch art.

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