The Golden Boys (Rembrandt & Vermeer)

            The seventeenth century made its mark on history with the Dutch Golden Age, when Dutch trade, science, military, and art were some of the finest in the world. Dutch Artists supplied thousands of the most beautiful artwork in the world during this century. Two artists in particular are Johannes Vermeer and Rembrandt van Rijn. These two men had many commonalities in their personal lives, though their artwork was very different.

Vermeer's selfie

            Johannes Vermeer was born in 1632, to a silk weaver and art dealer. He lived in Delft, Netherlands and was a member of the Dutch Reformed Church. He married very young at the age of twenty to the love of his life, Katherina. In order to marry his love, he had to first convert to Catholicism, since her family was Catholic. Vermeer and his wife were poor and they had to live with Katherina’s mother and family. It is believed that Vermeer did not apprentice with any other artists, but that he learned the craft by practicing it. His favorite subject to paint was his favorite person, his wife Katherina.

            Vermeer typically painted “still life with human beings.” (C.Thomas) “Most of his paintings are interior genre scenes, many with allegorical meanings. His canvases are generally small, and his subjects, as well as their treatment, are intimate.” (Art Across Time) Often the subjects were women modeled after Katherina, who were shown as smart and hard-working, and focused intently on their task at hand. The objects within the painting that surround or interact with the human subject were given meticulous detail and represent an abundance of symbolism which was a typical practice in Dutch art. Despite the intimacy and symbolism of his paintings, Vermeer’s paintings did not house much emotion in comparison to Rembrandt’s.

Rembrandt's selfie (one of many)

            Rembrandt van Rijn was born in 1606, in Leiden, Holland which was a Protestant country, but he moved to Amsterdam following his artistic success. Like Vermeer, Rembrandt was married to a loving wife, had several children, and lived in poverty. Rembrandt also, like Vermeer, enjoyed painting his self, his wife, and his children into his paintings. He painted many self-portraits throughout his life, allowing the story of his life to be told through the emotion in his face. I suppose if Rembrandt were alive today, he would post several selfies every day. We are blessed that he did paint his self as often as he did. Rembrandts portraits use lines that sway in and out of blurs and definition creating a natural guideline to the eyes and around to the other details of the portrait that he wants us to see. Rembrandt makes emotion the primary means for expression revealing to the viewer his world of suffering.

            Rembrandt often used thick impasto, trowels, brushes, needles, as well as his fingers to achieve the effect that he wanted for the art that he was working on. Vermeer on the other hand, would use a smooth surface and applied long thin strokes, which he covered with multiple layers of glazes. Vermeer was a perfectionist who applied his time and detail to fabrics and textures.  Vermeer was a master of composition and gave complexity to his landscapes which has caused such to wonder if he used gridlines. Both artists are considered to be Masters of Light. Vermeer’s light is often an external light that shines into or onto a subject/object, usually through a window on the left side. Rembrandt’s light is often a subjective light that is sometimes internal, and sometimes external – it has even been discovered that he has used gold leafing in his paintings to achieve the glow that he wanted.

            While these two artists of the Dutch Golden Age varied in their works, it can be said that they both took risks and tried new techniques that were different from the other artists of that time. Both men were married to women that they loved dearly and lost. They both had several children and lost several children throughout their lives. Both men lived in poverty and would be shocked to know what their paintings were worth today. These Masters of Light were the golden boys of the Dutch Golden Age and we are so blessed to be able to see the visions that they worked so hard to share with us.  

           

Citation:

Thomas, Charlene. Two Ways of Seeing. Milligan College Video Lecture. Johnson City, TN. 2016. Web.

Schneider-Adams, Laurie. Art Across Time: Fourth Edition. New York City: McGraw-Hill, 2011. Print.      

           

            

Giotto di Bonedone Essay

http://ksean.com/blog/?p=579

Giotto di Bonedone was born in the Mugello Valley near Florence around 1247 to a local shepherd and his wife. A popularly believed tale is that the great painter Cimabue was traveling through the fields when he spotted a young Giotto sketching sheep. Immediately, Cimabue convinced the family to allow Giotto to become his apprentice in the city of Florence. Young Giotto was growing up in a bustling city of a changing world, where convention and tradition were breaking down as a new renaissance culture developed.
Cimabue was commissioned to paint the great cathedral in the basilica of Assisi, and so he took his apprentices with him. Many of the frescoes along the lower wall are believed to have been painted by Giotto. Several of these frescoes display the characteristics of Giotto’s style which he developed and practiced for much of his life. Giotto created the illusion of a three dimensional space with the use of shading and light. Space was a strong idea for Giotto, by using architecture and landscapes in the pieces, the subjects are given a sense of existing in a real space and the viewer is given the sense that they are looking through a window. This idea of space hinted at the development of ‘perspective’ in art. In this new revolutionary style of three dimensional painting, Giotto added movement, pose, gesture, and emotion to the subjects in his paintings which created the reality of human life and drama. Giotto used his art as a storyteller uses words. For the first time since ancient Rome, we see subjects turned away from us in a scene. Authors like Boccaccio, Petrarch, and Dante took notice of Giotto’s innovative ideas. “Boccaccio … described Giotto as having brought the art of painting out of the medieval darkness into daylight.” (p.439)

Throughout his life, Giotto traveled throughout Italy and parts of France adding his unique beauty to walls and panels for people such as popes, kings, and nobleman. The best preserved of these works is the Arena Chapel in Padua, Italy. “Padua was a natural center for a humanist revival, … individual intellect, character, and talent. Giotto, more than any other artist, transformed these qualities into painting.” (p.441) The Arena Chapel is presented to the viewer as a dramatic story is told on a stage. Symbolism is quite present in Giotto’s works. For instance, in The Crucifixion Giotto places Jesus’ friends and family to His right hand side and creates a flow from the Cross to the edge of the picture so that there is no space between Jesus and them. However, to Jesus’ left there is a gap between Him and his executioners. Also in the Arena Chapel is a Last Judgement fresco.  It is positioned at the end of the chapel, so that it is the last view before you leave. Within this fresco is a self-portrait of Giotto as a member of a crowd, as well as a portrait of the Chapel owner, Enrico Scrovegni, offering the chapel to the Mother Mary perhaps as an atonement for the family’s sin of Usury, which landed his father a significant place in Dante’s seventh circle of Hell.

            From the sheep fields of Mugello Valley, to places throughout Italy and France, Giotto revolutionized art as we know it today. By adding shading, lighting, and perspective, Giotto created three dimensional paintings in which his subjects displayed real human emotions and movements. The fourteenth century would see many artists with various styles commissioned by wealthy Italian and French aristocrats, creating a new International Gothic style of painting, but despite these new innovations, Giotto’s new stylistic development continued to be used -  art depicting real life within a three dimensional space. 

Find Giotto on Wikepedia: https://en.wikipedia.org/wiki/Giotto