Rembrandt van Rijn, 1635 - Şərq kostyumunda adam - təsviri sənət çapı

Məqalənin spesifikasiyası

Bu daha çox 380 adlı bir illik sənət əsəri Man in Oriental Costume tərəfindən çəkilmişdir Rembrandt van Rijn. Orijinal ölçüsü ölçür 98,5 x 74,5 sm (38 3/4 x 29 5/16 düym) və ilə boyanmışdır texnika of oil on canvas. This piece of art is included in the Milli İncəsənət Qalereyası digital art collection, which is located in Washington D.C., United States of America. With courtesy of - Milli İncəsənət Qalereyası, Vaşinqton (ictimai domen).: . Üstəlik, rəqəmsal reproduksiyanın uyğunlaşdırılmasıdır portret with an image ratio of 3 : 4, which means that the length is 25% shorter than the width. The painter Rembrandt van Rijn was a European artist, whose artistic style was primarily Baroque. The Baroque artist lived for 63 years, born in the year 1606 Leydendə və 1669-cu ildə vəfat etdi.

Muzeyin saytında orijinal sənət əsəri haqqında əlavə məlumat (© Müəlliflik hüququ - Milli İncəsənət Qalereyası - www.nga.gov)

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.

In this imposing half-length image, a bearded man wearing an elaborate, bejeweled turban stares out at the viewer, his features strongly modeled by light streaming in from the left. A fur-lined cape, loosely clasped at the neck with a gold chain, covers his shoulders. His right hand grasps the sash that wraps around his waist, while his other hand rests on a wooden staff. An aigrette, a type of pin with a tuft of ornamental bird feathers that was a standard part of Ottoman attire, secures a heavy gold chain on the man’s turban.

Rembrandt, as a history painter, was particularly intrigued by the Middle East, where so many of the Biblical stories he frequently depicted had taken place. Rembrandt’s paintings, drawings, and etchings of the 1630s included numerous figures who wear Middle-Eastern garb. By the early seventeenth century the commercial enterprises of Dutch merchants had reached the Middle East, so exotically dressed foreigners were a familiar sight in the streets and marketplaces of Amsterdam. Exotic attire became a fashion fad, and Dutch men, including Rembrandt himself, would sometimes be portrayed wearing similar outfits. At the same time, Dutch collectors avidly sought to acquire exotica from all parts of the world, including shells, swords, musical instruments, and costumes, which they would then display for visitors to admire. Rembrandt owned such a collection, known as a kunstkamer, or cabinet of curiosities. His encyclopedic holdings of art and artifacts served as props for Rembrandt and his students, but the artist was also motivated to amass such a collection by his desire to be recognized as a full-fledged member of the class of gentlemen-collectors.

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