All the Rembrandts

Rembrandts paintings are such big statements. Last week I was in the Mauritshuis in The Hague showing the pupils I teach The Anatomy Lesson of Dr Tulp. Today I’m in the Rijksmuseum with it’s Syndics of the Drapers’ Guild, the Jewish Bride, the portraits of Maerten Soolmans and Oopjen Coppit and of course also the Nightwatch. All familiar images that I regularly see on my visits to these museums. 

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But today it has been slightly different, for alongside the big statements there are images of such delicacy, intimacy and plain and simple smallness.  For its exhibition Alle Rembrandts the Rijksmuseum has pulled everything out of their storage depot, all the paintings, all the drawings and all the prints.

The drawings in the exhibition are often quite limited in their format, a page from a notebook perhaps, but the etchings, peeping out from their little windows cut in the generous mounts are something else. 

Rembrandt captures a look, a glance and a mood, often in little more than a square centimeter of surface on the etching plate given over to the subject’s face. A individual peers out from amongst a tangle of the most finely scratched lines.  Faces lit by the combination of the blackest of black printmakers ink and the raw bloom of the slowly discoloring paper.   Never mind the impressive clothes and stature of the full size, full figure painted portraits, these are openings into the lives and world of emotion, concentration, activity and sometimes, apparent boredom.  

And then after this simplicity and intimacy, you enter the last rooms. These are spaces packed with drama and spectacle. Rembrandt sets to on the big Biblical themes; the crucifixion , the entombment, Christ presented to the people and Christ preaching. They’re bigger prints than earlier in the exhibition. They bristle with action, the handling of tonal work is, well, as you might expect from Rembrandt, dramatic. I haven’t seen some examples of Rembrandt’s crucifixion series for a while, it is spectacular and fascinating to see different stages of the printing process alongside one another.  Having seen Grunewald’s huge crucifixion not so very long ago, I do find myself wondering how a Rembrandt painting of this subject, based on his etchings, and of Nightwatch scale might have been.

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Daytime watch, by Rembrandt

There is no intention to intimidate, but I do kind of like having Rembrandt keeping watch from the back of the classroom.  Better still that these are the very pupils who painted the portrait.

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Click on the link below to read more about how the painting was made.

https://petersansom.wordpress.com/2019/04/01/sworn-to-secrecy-in-rembrandt-year/

Sworn to secrecy in Rembrandt year

Sometimes the strangest things at the strangest time simply happen…..and in this case might result in a rather unique experience for some of the art department pupils at my school. An interesting story to tell? Well maybe, although at this moment I am rather bound by a kind of pact of secrecy. But I feel I can share just a little of the story and will do in a moment.

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First though a bit more about the Rembrandt celebration that are rather sweeping through the Dutch cultural scene this year. It is 350 years since the artist’s death. The Rijksmuseum has taken the lead and have mounted an extensive exhibition of the Rembrandt’s paintings, drawings and prints. There is a tv show where amateur artists are competing against each other to produce the most accomplished Rembrandt inspired paintings and there is a planned exhibition of Rembrandt related work made by artists (amateur and professional) from across the globe.

If you are interested in art and living in the Netherlands, it really is quite difficult not to be swept along a little in the hype.

I have also made a slight adjustment to my usual planning to make space for Rembrandt. He has provided the content for a group transcription project that I often do with my first year (aged 12-13) pupils. So, this year it was 45 pupils, 48 squares of card and only black and white paint (to draw extra attention to Rembrandt’s use of tone). Our starting point was a close-up image of one of Rembrandt’s self-portraits, which once dissected into smaller, provided some pretty abstract looking details for each pupil to tackle. The question was, would this image have enough structure to hold the overall portrait together in the hands of my pupils, and could they be precise enough in their mixing of greys?

As things turned out, I didn’t have to worry. Once all the white of the paper had been painted away, the pupils themselves were able to see areas that needed extra attention generally, and once the total image could be seen from a distance for the first time there was undoubtedly a sense of pride from the group. Maybe it’s not the most creative assignment that I do with the groups involved. But it certainly has benefits in the areas of mixing different tones and the effect of light and dark. Coupled with that comes the positives of producing a team work, and the challenge for everyone to up their painting performance to avoid their piece of the puzzle standing out for the wrong reasons!

The artwork has subsequently been entered at the last minute for the Rijksmuseum’s open exhibition. You must ‘be in to win’ of course, but with well over 8000 other entrants we won’t be expecting too much!

Which brings me back to that other project involving the pupils studying art as an exam subject at the school I teach at. They too have been involved in an art project that also has a Rembrandt and a Rijksmuseum connection, I hope to be able to tell a little more about that later in the summer.