By John Berger
When he died, at sixty-three, seemed much older, even for its time. The drink, debts, death of many loved ones because of the plague could explain the damage suffered. But the portraits point to something else. In his maturity he lived a climate of economic bigotry and indifference, an atmosphere, on the other hand, not unlike that exists today. It was not possible to simply copy human, as in the Renaissance, the human was no longer evident: there was to be found in the dark. Rembrandt was an obstinate, opinionated, smart, capable of some cruelty. Let's not make him a saint. But looking for a way out of that darkness.
drew because he liked. It was a way to remember every day around him. The paint-especially in the second half of his life was for him something different: painting trying to find a way out of the darkness. Perhaps the extraordinary clarity of the drawings has prevented us from seeing how the painting actually.
rarely made preparatory drawings, began painting directly on the canvas. In his paintings there is little logic linear or spatial continuity. If your pictures are convincing because the details, the parties emerge and come out to meet the eye. Nothing prepared, ordered before us, as in the works of his contemporaries Ruisdael and Vermeer.
While the drawings completely dominated the space and proportion, the physical world he presents in his paintings is very distorted. This has never been stressed enough in the studies of his work. Perhaps because to realize it must be a painter rather than an art historian.
In an early work of a man (himself) in front of an easel in a studio painter, the man in question has a size of just over half of it should be. In a wonderful picture late, Woman with an open door (Berlin), hand and right arm Hendrickje could be those of a Hercules. In the Sacrifice of Abraham (St. Petersburg), Isaac has the physical traits of a young, but in relation to his father, his size is a child of eight years.
liked Baroque foreshortening and unlikely juxtapositions, but while Rembrandt exploited the freedoms that came with the style, the distortions of his paintings have nothing to do with them, because they are not obvious, but on the contrary, almost furtive.
San Mateo On the sublime and the Angel (Louvre), the space impossible to accommodate the head of the angel on the shoulder of the evangelist is discreetly hinted, whispered like an angel whispering in your ear to the saint. Why forgotten or ignored in the tables that could do so masterfully in the drawings? Interest was something else, something that was antithetical to "real" space.
Get out of the museum and go to the emergency room of a hospital, probably located in the basement of the building, where it is usually X-ray units The wounded and sick are transported in the beds or wait hours, side by side in wheelchairs, who can serve until the first specialist is free. With Often, the rich go before those who are sicker. But in any case, patients waiting in the basement is too late to change anything.
Everyone lives in his own body space whose landmarks are the pain or disability, a feeling or discomfort unknown. Surgeons can not obey the laws of this space when operating, is not something you learn in anatomy lessons of Dr. Tulip. A good nurse, however, recognizes the touch and know that every mattress in each patient, takes a different form.
space is the consciousness that inhabits the body itself feels. It is unlimited as the subjective space: finally always framed the laws of the body. But its milestones, its focus, its internal proportions can not stop change. The pain sharpens our awareness of this space. Is the space of our fundamental vulnerability of our society. And the disease. But potentially, it is also the space of pleasure, comfort and the feeling of being loved. Robert Kramer, the film director, defines it thus: "Behind the eyes and spread throughout the body, a universe of circuits and synapses. The beaten paths where energy tends to flow." Perceived better feel of what you see with your eyes. And Rembrandt was a great teacher who led the space to paint.
Consider the four hands partner of The Jewish Bride. Are your hands, far more than their faces, indicating: marriage. But how he arrived there, to the body space?
Bathsheba reading David's letter (Louvre). Figure, natural size, is sitting in the nude. Think about your destination. The King has seen and wants. Her husband is away at war. (How many millions of times something similar has happened?) Kneeling before her, her maid you feet dry. It has no other option presented to the king. Will become pregnant. King David will have to kill her beloved husband. She will cry. Marry King David and give him a son who will more King Solomon. A fatality has already begun, and in the center of this fatality is that desirable as a wife Bathsheba.
And so the whole picture is focused on his nubile belly and navel, which stood at the eye level of the maid. And painted it with love and compassion, like a face. No other European art belly painted with a thousandth part of this affection. Became the center of their own history.
Table after table was giving a part of the body or body parts, a particular narrative force. The table speaks with many voices, like a tale told by different people from different viewpoints. But these "views" can only exist in a corporeal space that is incompatible with the territorial or architectural space. Corporeal space change their actions and their focal points continuously, according to circumstances. It is measured in waves, not in meters. Hence, it is necessary to distort the "real" space.
La Sagrada Familia (Munich). The Virgin is seated in the workshop of Joseph, the Child sleeping in her lap. The relationship between the hand of the Virgin, his bare chest, the head of Jesus and his little arm extended is absurd in terms of any conventional pictorial space: nothing fits, nothing belongs to its rightful place, nothing is the right size. But the chest and a drop of milk flowing from his talk in the face of the child. And the hand of the little speech to the amorphous continent that is his mother, while that of the child hears it says.
His best pictures just offer anything coherent view of the viewer. What it does is to intercept it (especially) the dialogues that occur between the various parts, and these dialogues are faithful to the bodily experience that speaks to something that all of us. Faced with his works, the spectator's body remembers his own inner experience.
Historians have often noted the "interiority" of images of Rembrandt. However, they are the opposite icons. They are carnal images. The Flayed Ox meat is no exception, but rather characteristic of him. To reveal an interior, would be the body, the thing trying to get the lovers when they caress and at the time of intercourse. In this context, the latter word has a literal meaning and more poetic: Coire, "go together."
About half of his great works (portraits apart) describe the act of hugging or preliminary at the same time, the gesture of opening and extend your arms: The Prodigal Son, Jacob and the Angel, Danae, David and Absalom The Jewish Bride ...
can not find anything similar in the work of any other painter. In Rubens, for example, there are many figures that are touched, they are transported, they are conducted, but few, if any, to be held. In no other painter ranks supreme embrace this position, central. Sometimes the painting is sexual embrace, others not. In the merger of two bodies comes not only desire, but also forgiveness or faith. In his Jacob and the Angel (Berlin) we see all three, and not easy to separate.
public hospitals, as an institution that originated in the Middle Ages, were called in France Hôtels-Dieu. They were places where the roof gave assistance in the name of God to the sick or dying. But beware to idealize. During the plague, Hôtel-Dieu de Paris was so crowded that each bed was occupied by three people, a sick, dying and another dead one. " But the term
Hôtel-Dieu, interpreted otherwise, may help explain his painting. The key to this vision distorted by the classical space need was the New Testament. "Whoever lives in love, in God remains and God in him [...] By this we know that we live in him, and he in us, because he has communicated his spirit." (First Epistle of St. John, chap 4, verses 16 and 13).
"And he in us." What were the surgeons in the dissection of bodies was one thing. Quite another to what he wanted. Hôtel-Dieu in French can also mean a body in which God resides. In his last self-portraits, so indescribable and terrible, it seems that as she watched her own face was waiting for God, despite knowing full well that God is invisible.
When he painted freely to those whom he loved or imagined, or those from whom he was coming, tried to enter his corporeal space at that precise moment, trying to enter the Hôtel-Dieu, and thus find out from the darkness. Front
small cadre of the Youth Bath (London) we seem to be there among the folds the shirt that she gets up. Not as voyeurs. Not with lust, like the old spy on Susan. Quite simply, the tender love with which he painted us to inhabit the area of \u200b\u200byour body.
embrace To Rembrandt was synonymous with the act of painting, and nearly touched both prayer.
Text taken from:
http://www.jornada.unam.mx/2006/05/14/sem-john.html
Image taken from:
http://web.educastur.
princast.es/proyectos/jimena/pj_leontinaai/arte/webimarte2/WEBIMAG/BARROCO/IMAGENES/PINTURA/REMBRAN/budes.jpg
drew because he liked. It was a way to remember every day around him. The paint-especially in the second half of his life was for him something different: painting trying to find a way out of the darkness. Perhaps the extraordinary clarity of the drawings has prevented us from seeing how the painting actually.
rarely made preparatory drawings, began painting directly on the canvas. In his paintings there is little logic linear or spatial continuity. If your pictures are convincing because the details, the parties emerge and come out to meet the eye. Nothing prepared, ordered before us, as in the works of his contemporaries Ruisdael and Vermeer.
While the drawings completely dominated the space and proportion, the physical world he presents in his paintings is very distorted. This has never been stressed enough in the studies of his work. Perhaps because to realize it must be a painter rather than an art historian.
In an early work of a man (himself) in front of an easel in a studio painter, the man in question has a size of just over half of it should be. In a wonderful picture late, Woman with an open door (Berlin), hand and right arm Hendrickje could be those of a Hercules. In the Sacrifice of Abraham (St. Petersburg), Isaac has the physical traits of a young, but in relation to his father, his size is a child of eight years.
liked Baroque foreshortening and unlikely juxtapositions, but while Rembrandt exploited the freedoms that came with the style, the distortions of his paintings have nothing to do with them, because they are not obvious, but on the contrary, almost furtive.
San Mateo On the sublime and the Angel (Louvre), the space impossible to accommodate the head of the angel on the shoulder of the evangelist is discreetly hinted, whispered like an angel whispering in your ear to the saint. Why forgotten or ignored in the tables that could do so masterfully in the drawings? Interest was something else, something that was antithetical to "real" space.
Get out of the museum and go to the emergency room of a hospital, probably located in the basement of the building, where it is usually X-ray units The wounded and sick are transported in the beds or wait hours, side by side in wheelchairs, who can serve until the first specialist is free. With Often, the rich go before those who are sicker. But in any case, patients waiting in the basement is too late to change anything.
Everyone lives in his own body space whose landmarks are the pain or disability, a feeling or discomfort unknown. Surgeons can not obey the laws of this space when operating, is not something you learn in anatomy lessons of Dr. Tulip. A good nurse, however, recognizes the touch and know that every mattress in each patient, takes a different form.
space is the consciousness that inhabits the body itself feels. It is unlimited as the subjective space: finally always framed the laws of the body. But its milestones, its focus, its internal proportions can not stop change. The pain sharpens our awareness of this space. Is the space of our fundamental vulnerability of our society. And the disease. But potentially, it is also the space of pleasure, comfort and the feeling of being loved. Robert Kramer, the film director, defines it thus: "Behind the eyes and spread throughout the body, a universe of circuits and synapses. The beaten paths where energy tends to flow." Perceived better feel of what you see with your eyes. And Rembrandt was a great teacher who led the space to paint.
Consider the four hands partner of The Jewish Bride. Are your hands, far more than their faces, indicating: marriage. But how he arrived there, to the body space?
Bathsheba reading David's letter (Louvre). Figure, natural size, is sitting in the nude. Think about your destination. The King has seen and wants. Her husband is away at war. (How many millions of times something similar has happened?) Kneeling before her, her maid you feet dry. It has no other option presented to the king. Will become pregnant. King David will have to kill her beloved husband. She will cry. Marry King David and give him a son who will more King Solomon. A fatality has already begun, and in the center of this fatality is that desirable as a wife Bathsheba.
And so the whole picture is focused on his nubile belly and navel, which stood at the eye level of the maid. And painted it with love and compassion, like a face. No other European art belly painted with a thousandth part of this affection. Became the center of their own history.
Table after table was giving a part of the body or body parts, a particular narrative force. The table speaks with many voices, like a tale told by different people from different viewpoints. But these "views" can only exist in a corporeal space that is incompatible with the territorial or architectural space. Corporeal space change their actions and their focal points continuously, according to circumstances. It is measured in waves, not in meters. Hence, it is necessary to distort the "real" space.
La Sagrada Familia (Munich). The Virgin is seated in the workshop of Joseph, the Child sleeping in her lap. The relationship between the hand of the Virgin, his bare chest, the head of Jesus and his little arm extended is absurd in terms of any conventional pictorial space: nothing fits, nothing belongs to its rightful place, nothing is the right size. But the chest and a drop of milk flowing from his talk in the face of the child. And the hand of the little speech to the amorphous continent that is his mother, while that of the child hears it says.
His best pictures just offer anything coherent view of the viewer. What it does is to intercept it (especially) the dialogues that occur between the various parts, and these dialogues are faithful to the bodily experience that speaks to something that all of us. Faced with his works, the spectator's body remembers his own inner experience.
Historians have often noted the "interiority" of images of Rembrandt. However, they are the opposite icons. They are carnal images. The Flayed Ox meat is no exception, but rather characteristic of him. To reveal an interior, would be the body, the thing trying to get the lovers when they caress and at the time of intercourse. In this context, the latter word has a literal meaning and more poetic: Coire, "go together."
About half of his great works (portraits apart) describe the act of hugging or preliminary at the same time, the gesture of opening and extend your arms: The Prodigal Son, Jacob and the Angel, Danae, David and Absalom The Jewish Bride ...
can not find anything similar in the work of any other painter. In Rubens, for example, there are many figures that are touched, they are transported, they are conducted, but few, if any, to be held. In no other painter ranks supreme embrace this position, central. Sometimes the painting is sexual embrace, others not. In the merger of two bodies comes not only desire, but also forgiveness or faith. In his Jacob and the Angel (Berlin) we see all three, and not easy to separate.
public hospitals, as an institution that originated in the Middle Ages, were called in France Hôtels-Dieu. They were places where the roof gave assistance in the name of God to the sick or dying. But beware to idealize. During the plague, Hôtel-Dieu de Paris was so crowded that each bed was occupied by three people, a sick, dying and another dead one. " But the term
Hôtel-Dieu, interpreted otherwise, may help explain his painting. The key to this vision distorted by the classical space need was the New Testament. "Whoever lives in love, in God remains and God in him [...] By this we know that we live in him, and he in us, because he has communicated his spirit." (First Epistle of St. John, chap 4, verses 16 and 13).
"And he in us." What were the surgeons in the dissection of bodies was one thing. Quite another to what he wanted. Hôtel-Dieu in French can also mean a body in which God resides. In his last self-portraits, so indescribable and terrible, it seems that as she watched her own face was waiting for God, despite knowing full well that God is invisible.
When he painted freely to those whom he loved or imagined, or those from whom he was coming, tried to enter his corporeal space at that precise moment, trying to enter the Hôtel-Dieu, and thus find out from the darkness. Front
small cadre of the Youth Bath (London) we seem to be there among the folds the shirt that she gets up. Not as voyeurs. Not with lust, like the old spy on Susan. Quite simply, the tender love with which he painted us to inhabit the area of \u200b\u200byour body.
embrace To Rembrandt was synonymous with the act of painting, and nearly touched both prayer.
Text taken from:
http://www.jornada.unam.mx/2006/05/14/sem-john.html
Image taken from:
http://web.educastur.
princast.es/proyectos/jimena/pj_leontinaai/arte/webimarte2/WEBIMAG/BARROCO/IMAGENES/PINTURA/REMBRAN/budes.jpg
0 comments:
Post a Comment