Rembrandt van Rijn, 1660 - Hündür papaq və əlcəkli bir centlmenin portreti - təsviri sənət çapı

The 17th century painting "Portrait of a Gentleman with a Tall Hat and Gloves" was painted by the Barok artist Rembrandt van Rijn. The original measures the size 99,5 x 82,5 sm (39 3/16 x 32 1/2 düym) and was made with oil on canvas transferred to canvas. This artpiece is in the the digital collection of National Gallery of Art located in Washington D.C., United States of America. With courtesy of: Milli İncəsənət Qalereyası, Vaşinqton (public domain).The creditline of the artwork is the following: . The alignment of the digital reproduction is in portret formatına malikdir və yan nisbətinə malikdir 1: 1.2, yəni mənasını verir uzunluğu enindən 20% qısadır. The painter Rembrandt van Rijn was an artist, whose art style was primarily Baroque. The Dutch painter was born in 1606 in Leiden and died at the age of 63 1669 ildə.

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• Metal (alüminium dibond çap): This is a metal print made on aluminium dibond with a true depth effect. The colors are bright and vivid in the highest definition, details are crisp, and you can feel a matte appearance of the surface.

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Rembrandt van Rijn doğma Leydendə rəsm və rəngkarlığın əsaslarını öyrəndikdən sonra 1624-cü ildə məşhur tarix rəssamı Pieter Lastman (1583-1633) ilə altı ay təhsil almaq üçün Amsterdama getdi. Təlimini başa vurduqdan sonra Rembrandt Leydenə qayıtdı. Təxminən 1632-ci ildə o, Amsterdama köçdü və tez bir zamanda şəhərin aparıcı rəssamı kimi özünü təsdiq etdi, tarixi rəsmlər və portretlər üzrə ixtisaslaşdı. O, çoxlu komissiyalar aldı və onun rəsm üsulunu öyrənməyə gələn bir sıra tələbələri cəlb etdi.

Rembrandt conceived this portrait of a man and another of a woman (see NGA 1942.9.68) as pendants, or companion pieces. In both, light illuminates the subjects from exactly the same angle. The sitters interact with restrained yet poignant warmth; he gestures toward her while looking at the viewer, and she glances in his direction while holding her feather fan so that it inclines toward him. The identity of the sitters is not known, but the circle of wealthy friends and acquaintances who might have ordered portraits at that period of Rembrandt’s life was rather small. The style of the sitters’ costumes is datable to the late 1650s, which is consistent with the character of Rembrandt’s painting technique.

The early history of these paintings is shrouded in mystery, but by 1803 they had entered the collection of Prince Nicolai Yusupov (1751–1831) in Saint Petersburg. The first published descriptions of the pair, in 1864, already mention their "extraordinary energy," and the paintings made a tremendous impression at the great Rembrandt exhibition in Amsterdam in 1898. When Nicolai’s great-great-grandson, Prince Felix Yusupov (1887–1967), escaped Russia at the start of the Revolution in 1917, he brought the family jewels and these two Rembrandt paintings with him to London. Joseph E. Widener, the future benefactor of the National Gallery of Art, purchased the pair in 1921 when the prince’s need for cash forced him to part with his family heirlooms.