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JV To my friend

Among the four walls of a workshop at the top of a residential house, a man has not needed to travel to Italy, or hobnobbing with the great world, to become a unique artist. Has already had his years of vanities, where he went to parties and wasting money on expensive clothes and dishes. Now in their senior years, an age in which everything lost, drops his clear perspective on the paintings of his studio

magic
and extracted them. This man is Rembrandt van Rijn, a miller's son, who believed that painting was an ornament in his brilliant social life and has actually been the reason for their existence. I understand

Rembrandt as one of the first that objectifies, ie serving your area with as much interest as his message. Yes, a great storyteller, of infinite imagination, and a composer wonderful, able to place dozens of characters on stage without missing on or none.

But also, at the end of his life, not paint, but that task, with the material you have in your hands. The pigments in his workshop preparing mixed with powder charges, to give greater consistency, especially white lead. It has always been a fan light kits, but, at maturity, your funds are always dark. There

applies his brush, first, very diluted, as a glaze, so it does not add, but it reveals. But his experiments with the material are not now. Is famous portrait of his youth, which uses the brush handle to scratch on fresh paint.

Now, with the assurance of a master, apply the spatula, with thick strokes of oil, whose vibrations include the black background on providing unmatched shine.

No fear the unfinished effect, he drew in his youth even skin minutely furrowed veins in the hands of "the prophetess Anna"

In his maturity, "Isaac and Rebekah", the work of the blade into the sleeve is a matter painting prodigy. Suggested is a texture that mimics a rich fabric with gold thread, in line with what was considered a garment of a Jew of his time. Rembrandt is a master of pictorial illusion, like Velasquez, but the latter suggests unctuous brushstrokes, the Dutch it works almost like a relief.

Raspados, overlays, striped, are Allies of a painter unconventional. And his orders are resented. Used to spend, buy a house Rembrandt quite expensive, and fills his whims workshop brought from the Dutch colonies in the East. Fashions in the city take a different course, and it leaves its thoroughness and gentleness in dealing pictorial abandon him.

Despite the absence of significant orders, the path taken is unstoppable. He does not paint to sell, but to feel the paint.
As an example of what can make a genius with a nondescript plaster model, I am impressed by the portrait of Homer. Out of a bust can still be seen in his workshop.

A thick brush strokes, with a single range of yellow-gold tones, Homer has become an apostle, who exudes grace.

Although still performing religious and portraits, Rembrandt and has the look of pure painter, who is capable of seeing the world and turn everything into an evocative pictórica.Del interpretation, very powerful for it that is beautiful and brutal, speaks on "Buey skinned" authors such as Bacon recovered years later.

A warm glow surrounds it is not just a piece of flesh cut open. There is something similar in the way that the legs are attached to the pole and the tension of a crucifixion, and the painter certainly noticed it. The finish is of amazing beauty, and a sampler of techniques in oil painting.

Finally, the self less forgiving of those who have been painted, Rembrandt is built with golden brushstrokes, thick accents and scrapes. This painting has been interpreted as an evocation of Zeuxis, the Greek painter not retain any book, or Democritus, the philosopher. In it the head is slightly turned toward the viewer, with an incredulous and wry smile, as if I looked back and laughed at his eagerness, and incidentally, of our own.

Nothing to do with the last self-portrait is considered much more sweet, soft and complacent, which shows a respectable gentleman, adorned with a touch of vanity in rich fabrics. Neither technique has nothing to do, is much more risky in the first, suggesting it was more for personal contemplation.

These two pictures show the ambivalence that always moved the character, wanting to be A member of the society respected, and at the same time carried away by the changes they asked their own intuitions. As complex as the time he lived, the century of the Baroque, the contradictions.