17th and 18th Centuries

Task:

Compare paintings of Vermeer and Rembrandt, especially their methods of lighting subjects.

Vermeer and Rembrandt are some of the Netherland's most esteemed artists, with their work being produced at the peak of the Golden Age, a time when Holland achieved unparalleled economic, social and political growth. At this time, Dutch painting possessed a sharpness and realism unrecognised in art before, a complete turnaround from the religious and fantastical themes of the Renaissance.

"Never before had a group of artists looked at the physical world around them with such clarity and set down their observations with such fidelity. Turning away from the religious, mythological and allegorical subjects that had been the themes of Renaissance art, they portrayed what they saw around them, with great artistry but without histrionics or affectation." 1

The lighting in both Vermeer and Rembrandt paintings are quite similar- Vermeer famously painted in the same studio throughout his whole career, thus casting a side-light on the scenes and models he painted. Rembrandt also lit his subjects with a side light although much more harshly, casting harder shadows and starker contrasts than Vermeer's.

"... in many 17th Century paintings a battle was waged between light and dark: shadows were overemphasised to make the light areas seem lighter. This approach was used by Rembrandt, who often gave strength to his bright centers by plunging the surroundings into darkness." 2

Figure 1, The Anatomy Lesson of Dr. Tulp, 1632, Rembrandt

 These qualities in Rembrandt's work are clearly evidenced in the painting The Anatomy Lesson of Dr. Tulp. Much of the background is shrouded in darkness and the complexions of the men and cadaver are in bright contrast to this, illuminating the scene. The light source appears to be coming from the upper left hand side of the painting, thus allowing the light to shine brightly in particular on the faces of the men.

It is also important to note that Rembrandt was a particular master of expressions, producing many small etchings and drawings of his own face contorted into peculiar shapes and forms.

"Often, like an actor practising before a mirror, he sought simply to increase his mastery of facial expression... However, as Rembrandt aged and experienced the reality of emtion instead of merely studying its surface signs, he used his face to convey a deeper meaning, pitilessly portraying the slow ruin of his own flesh, reflecting the tides of skepticism and courage, melancholy and calm that coursed through him." 3

Figure 2, Bathsheba, 1654, Rembrandt

Figure 3, Small etchings of expressions, 1630, Rembrandt

In the painting Bathsheba by Rembrandt, you can again see the obvious contrast between light and dark, but also the pondering expression of the woman and the slight melancholy tilt of her head, showing Rembrandt's proficiency at capturing expressions and emotion. The small etchings of himself greatly helped his understanding of expression and this is clearly seen within these self portraits.

Figure 4, Lady Reading a Letter with an Open Window, 1658, Vermeer

Lady Reading a Letter is a classic example of Vermeer's soft, luminescent lighting technique. The light pours in from the window of the left, casting softer shadows than in Rembrandt's work. He transformed the depth of his paintings by using deeper tones of colour to suggest shadow, rather than painting brown or black over the top as other contemporaries of the time would. Each tone in the shadow was slightly different from the last, accounting for the subtle differences in the colour of every surface and capturing the brilliance of natural daylight.

"The shadows themselves are always variations of colour- never black or just brown. Vermeer knew that all shadows have colours, just as he understood that white light is never really white... although apparently white, each nuance of wall texture, each subtle change of light intensity and tone has been rendered by almost innumerable variations of colour- all the colours, in fact, that do exist in the colour white." 4

List of Illustrations

Figure 1 The Anatomy Lesson of Dr. Tulp, Rembrandt van Rijn, 1632, WALLACE, R. The World of Rembrandt, 1606 - 1669, Time-Life Books, 1968, p. 75
Figure 2 Bathsheba, Rembrandt van Rijn, 1654, WALLACE, R. The World of Rembrandt, 1606 - 1669, Time-Life Books, 1968, p. 172
Figure 3 Small etchings of expressions, Rembrandt van Rijn, 1630, WALLACE, R. The World of Rembrandt, 1606 - 1669, Time-Life Books, 1968, p. 8
Figure 4, Lady Reading a Letter with an Open Window, Johannes Vermeer, 1658, BUGLER, C. Dutch Painting, Phaidon Press Limited, 1979, p. 52

References

[1] KONINGSBERGER, H. The World of Vermeer, 1632 - 1675, p. 9
[2] KONINGSBERGER, H. The World of Vermeer, 1632 - 1675, p. 126
[3] WALLACE, R. The World of Rembrandt, 1606 - 1669, p. 7
[4] KONINGSBERGER, H. The World of Vermeer, 1632 - 1675, p. 127

Bibliography

BUGLER, C. Dutch Painting, (1979), Phaidon Press Limited. London
KONINGSBERGER, H. The World of Vermeer, 1632 - 1675, (1967), Time-Life Books, London
WALLACE, R. The World of Rembrandt, 1606 - 1669, (1968), Time-Life Books, London