Lições de anatomia

As duas pinturas de Rembrandt van Rijn (1606-1669) nas quais o artista holandês retrata lições de anatomia em 1632 e 1656 revelam limitações que a leitura de uma obra de arte pode impor ao olhar contemporâneo se nos ativermos apenas ao universo de nossa subjetividade, ignorando o panorama histórico no qual tais representações foram criadas. A partir dessa constatação aparentemente óbvia, o presente trabalho pretende apontar os parâmetros clássicos que determinaram a longa tradição das práticas anatômicas e alguns de seus desdobramentos contemporâneos, com especial enfoque nos trabalhos do polêmico artista, ou seria melhor dizer, médico e anatomista alemão Gunther Von Hagens. Como no Atlas Mnemosyne, de Aby Warburg, a associação de imagens estrutura o eixo das reflexões.

Nadzwyczajna zwyczajność. Rembrandt rytownik. Nowatorstwo wobec tradycji

SUMMARY The scientific interests of Rev. Professor Janusz Pasierb revolved mostly around questions related to Polish art, often in the perspective of European interconnections, inspirations, as well as differences. The present study has been inspired by an observation by Rev. Professor Pasierb made in reference to a sphere of human activity unrelated to art. Describing in one of his papers the figure of Bishop Konstantyn Dominik (1870–1942), Professor Pasierb employed the phrase extraordinary ordinariness17. In the present text, this term will be used to discuss an artist whose oeuvre depicts ‘extraordinary ordinariness’ in the most multi-aspected and spectacular way. Rembrandt van Rijn was at once a traditionalist and innovator, both in regard to the range of employed subjects and compositional schemes and his craftsmanship. His knowledge of the achievements of his forerunners, continuously developed, inspired his own artistic quest. Despite the fact that he was a painter in the period when elaborated allegory was universally employed, he insisted on the realism of scenes and directness of compositions in order to bring out the extra-sensual dimension, based on symbolism hidden in prosaic life. His works open spaces of universal experiences and feelings, at the same time inclining us to pose questions concerning their complex intellectual interpretation or Rembrandt’s technique. His mastery is equally palpable in his biblical compositions, landscapes or brilliant psychological portraits, while each of the genres was depicted by him both in painting and in graphic arts, which was rare in the times when most artists specialized in only one medium, or even in one genre, like portraits or landscapes, in one medium. Rembrandt is one of the artists referred to as painters-engravers (peintre-graveur), like Albrecht Dürer or Lucas van Leyden before him. In graphic arts in particular, he introduced new technical and compositional solutions, issuing works that often astound with their innovative approach and extremely individual interpretation. Rembrandt’s versatility in terms of addressing various genres is particularly visible in his prints. Certain subjects were resumed by him as he looked for ever new solutions. Several chosen examples of graphic works depicting religious themes combining in various aspects traditionalism and innovation will be discussed to illustrate Rembrandt’s iconographic, compositional and technical concepts and search.

VIRTUAL RECONSTRUCTION OF THE BIRTHPLACE OF REMBRANDT VAN RIJN: FROM HISTORICAL RESEARCH OVER 3D MODELING TOWARDS VIRTUAL PRESENTATION

<p><strong>Abstract.</strong> 2019 marks the 350th anniversary of the death of the famous seventeenth-century painter Rembrandt van Rijn. Rembrandt was born in 1606 in the city of Leiden, located in the Netherlands. Here he grew up, was educated and set up his early practice before moving to Amsterdam at age 31. He is the son of a miller's family, which lived and worked in the city at the dawn of the Dutch Golden Age – a period in which Leiden transformed from a medieval city to an early modern metropolis. Although the historical city fabric of Leiden is well preserved, the birthplace of the famous painter, unfortunately, has been demolished. Also, the surroundings are unrecognizable today. For this reason, the tourism and marketing department of the city asked Erfgoed Leiden, the regional heritage department, to make a 3D virtual reconstruction of Rembrandt's birthplace and its surrounding. It resulted in a multi-disciplinary collaboration between archivists, building archaeologist, and a 3D artist. This paper reflects this cooperation from historical research over aspects of the 3D modeling pipeline to the final products of the reconstruction. Following a <q>reliability</q> matrix, the data were categorized for their reliability after careful evaluation of their accuracy depending on the source.</p>

Penerapan Metode Reduksi pada Penciptaan Karya Seni Grafis Cetak Tinggi Cukil Kayu Chiaroscuro

Chiaroscuro dikenal sebagai salah satu prinsip pencahayaan dalam dunia seni rupa yang mulai berkembang pada masa Renaissance di abad ke-15 yang sangat mempertimbangkan gelap-terang jatuhan cahaya pada suatu objek untuk diaplikasikan pada karyanya. Old Master seperti Caravaggio, Leonardo da Vinci, dan Rembrandt van Rijn merupakan beberapa nama yang menerapkan prinsip ini pada lukisannya. Dalam sejarah perkembangannya, prinsip chiaroscuro ini diaplikasikan juga dalam seni cetak grafis oleh Caravaggio dan beberapa seniman lain yang berasal dari Jerman dan Italia. Selain metode multi-block yang umum digunakan untuk menghasilkan karya grafis berwarna, metode reduksi memiliki potensi untuk menghasilkan visual chiaroscuro pada karya seni grafis cetak tinggi cukil kayu salah satunya dikarenakan adanya relevansi antara penggunaan tingkatan kecerahan (nilai) warna pada karya chiaroscuro yang dapat dibuat dengan tingkatan lapisan cetak pada metode reduksi. Metode reduksi memungkinkan seniman untuk menghasilkan sejumlah tingkatan nilai warna yang berbeda dengan mengacu pada lapisan cahaya yang jatuh pada suatu objek sehingga kesan volume dan kedalaman yang dibuat pada karya seni grafis tersebut akan lebih terlihat. Pada penelitian ini penulis melakukan analisa prinsip pencahayaan chiaroscuro untuk kemudian diaplikasikan pada karya seni grafis cukil kayu dengan menggunakan metode reduksi. Sehingga pada akhirnya akan menghasilkan data analisis aspek teknis serta visual dari metode reduksi yang digunakan pada proses pembuatan karya seni grafis yang dapat menjadi bahan materi pengembangan dan eksplorasi karya maupun materi pembelajaran untuk disampaikan pada khalayak.

A REPRESENTAÇÃO DE MENDIGOS EM OBRAS DE ARTISTAS

Representar a figura de “Mendigos” se constitui em uma forma de pensar e produzir artisticamente algo que seja uma imagem acordada com a cotidiana realidade, contextos sociais e artísticos e por questões poéticas podendo inclusive envolver aspectos particulares da vida do artista e desses grupos sociais que vivem em indigência ou mendicância material que se relacionam a condição de habitantes andarilhos, maltrapilhos, “sem teto” ou “sem abrigo”. Os processos, a tecnologia, a materialidade, a linguagem escolhida pelos artistas e as diferentes maneiras de “dar a ver” essa vulnerabilidade social desde remotos tempos na linha histórica da arte mostram que a temática em torno dessa condição social não se esgota. Neste trabalho apresentamos algumas obras dos artistas Vincent Van Gogh, El Greco, Pieter Brughel, Bartolomé Esteban Murillo, Rembrandt Van Rijn, Pablo Picasso, Francisco de Goya y Lucientes, Honoré-Victorien Daumier, Lasar Segal, Diego Rivera e Dorothea Lange. Podemos observar que a vulnerabilidade e condição de risco social estão relacionadas a construção estética dos mendigos, proporcionando que sejamos capazes de observa-los através da historia da arte como figuras urbanas marginalizadas, relacionadas a um contexto de exclusão, marginalização ou indigência social por razões socioeconômicas e que transitavam e transitam próximos a centros urbanos. Desta forma, o artigo tem por objetivo mostrar esta temática associada também a produção de artistas contemporâneos como Mathieu Pernot e Francys Allys, revelando um outro sujeito que mendiga e que é classificado como “PESSOA EM SITUAÇÃO DE RUA” valendo destas figuras como elementos visuais que intrigam e provocam dentro de um contexto de descompromisso e insalubridade.

Rembrandt and his Circle

This collection brings together art historians, museum professionals, conservators, and conservation scientists whose work involves Rembrandt van Rijn and associated artists such as Gerrit Dou, Jan Lievens, and Ferdinand Bol. The range of subjects considered is wide: from the presentation of convincing evidence that Rembrandt and his contemporary Frans Hals rubbed elbows in the Amsterdam workshop of Hendrick Uylenburgh to critical reassessments of the role of printmaking in Rembrandt's studio, his competition with Lievens as a landscape painter, his reputation as a collector, and much more. Developed from a series of international conferences devoted to charting new directions in Rembrandt research, these essays illuminate the current state of Rembrandt studies and suggest avenues for future inquiry.