Rembrandt AMSU

Rembrandt AMSU http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU.html In the 2007 summer program of AMSU’s ARTH (Art for art historians and other interested parties), participants were given various 17th-century works of art to copy, among them Rembrandt’s portrait of the Dutch liberal preacher Johannes Uyttenbogaert (1577--1644). Uyttenbogaert was 76 when he sat for Rembrandt, in April 1633. Wisely, the AMSU faculty limited our project to the head and shoulders of this dignified man, who played an important role in the history of The Netherlands. Since the original is on canvas, we too used this support. The painting is on view in the Rijksmuseum, Amsterdam, but for our course we had the luxury of having a full-scale high--resolution photograph to refer to. In addition, each participant was given a similar high--resolution photograph of the bust. Painting was carried out in two or two and a half days. Lectures and demonstrations, as well as convivial lunches, punctuated our studio time, which began soon after nine in the morning and concluded by five in the afternoon. The photos are assembled in groups, corresponding to stages in our project. Uyttenbogaert: high resolution photograph of the original, which was in our studio for reference. The original painting’s measurements are 132 x 102 cm. In my digital photograph, taken from a catalog, the painting is cropped, especially on the right and it has a bluish tint not present in the original. The photographs are organized into three sets: I, 1--6, The Canvas. After the edges of the cloth had a seam sewn around all four sides to hold a cord in place, a cord was sewn through the canvas at regular intervals and wrapped around stretchers (aka “strainers”) at a regular distance of several inches, say three. This cord was pulled tight to make it taut around the frame, i.e. the framing stretchers. Then the canvas was coated on one side with a ground to fill the interstices (spaces) between the canvas threads. Animal-skin glue, usually mixed with chalk, was applied first. In the seventeenth and eighteenth centuries, this was covered with a kind of reddish-brown “sludge,” or paint that had been mixed with turpentine and linseed oil (poppy, etc), the “dirt” that had accumulated on the brushes’ hair or bristles. Once dry, another middle-tone ground was applied, that is, one that was intermediate between dark and light. In this case, it is middle grey. Fig. I, 4, shows the reddish ground covered, almost, by the grey ground. Fig. I, 5 shows the “cusping” or scalloping that occurs from the tension of the cord that holds the canvas in place. Fig. I, 6 is a photograph of the back (reverse) of the canvas after the picture was completed. II, 1-5, Preparatory Drawings. To prepare for the project, I made several drawings to introduce myself to the sitter and to observe him more closely. The drawings were done on light-brown toned paper, 8 1/2 x 5 1/2 inches. As is evident in the drawings, my proclivity for van Dyck’s portraiture is apparent. Uyttenbogaert was slimmed down, his face became more elongated, and he is more overtly expressive than the rather resigned almost placid preacher in Rembrandt’s work. My drawing has transformed him more into a lord than a man of the church. The chalk drawings over photocopies suggest a family resemblance to Rembrandt; here Uyttenbogaert’s features are rather plebeian. Some of my visual inclinations are apparent in the painting itself. First, I did not center the sitter, as we were urged to do, but moved him to the left, in keeping with van Dyck’s sense of design. Second, being a great admirer of Frans Hals, some of my brush work, particularly in the painting of the ruff, is informed by the Haarlem master’s touch. (But of course I am only in Hals’s introductory course and have many classes to take before I approach his masterful succinctness.) I fell in love with the lovely lushness of lead white, a pigment that was used with abandon decades ago when I first was trying my hand at painting, but because of its toxicity this pigment is no longer commercially available. Thanks to this course, I was able to enjoy its properties which are so alluring, as is evident in my depiction of the ruff. So a faithful copy after Rembrandt this picture certainly is not. III, 1--29, Painting Stages. This sequence shows the various stages of the portrait. Ernst van de Wetering with humor and wisdom gave me the assistance I needed to progress, showing me how to mix appropriate skin color as well as to correct tonal disposition in certain facial areas. Because the time allowed for painting was so limited, it was not possible to fashion the facial structure, tones, colors, and to learn Rembrandt’s facture a lengthier period would have permitted. Where glazes might have toned down the ruddy Uyttenbogaert and given him a paler complexion, the man I brought home in my cardboard box is a reminder to me of the masterfulness of Rembrandt and his contemporaries. Not Rembrandt, not by a long shot. Still, I hope that the curious will take heart and find instruction from these comments, and, if possible, study with the masters at AMSU. Among the lessons learned from using hand-mixed paints was the different properties they had insofar as intensity, opacity/transparency, and handling. Using linseed oil alone as a medium --no turpentine or resins-- made the act of painting a new experience; it requires considerable time to master as well as the “systems” used in the seventeenth century. (revised, 27 February, 2008) Rembrandt, Johannes Uyttenbogaert, 1633, Amsterdam, Rijksmusem http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU.html#0 1447b9a4-ffb0-4fe3-b412-4a62db72c066 http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_0321.jpg?derivative=thumb http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_0321.jpg?derivative=micro <div style="padding: 0px; " class="style_External_0_0"><div class="style_2"><p style="padding-bottom: 0pt; padding-top: 0pt; " class="Caption">    Rembrandt, Johannes <span style="line-height: 17px; " class="style_3">Uyttenbogaert, 1633, Amsterdam, Rijksmusem</span></p></div></div> I, 1. unprimed canvas from front http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU.html#1 e4d25a1f-6d71-4323-9c00-239ea53655df http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_0838.jpg?derivative=thumb http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_0838.jpg?derivative=micro <div style="padding: 0px; " class="style_External_0_0"><div class="style_2"><p style="padding-bottom: 0pt; padding-top: 0pt; " class="Caption">I, 1. unprimed canvas from front</p></div></div> I, 2. unprimed canvas from back http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU.html#2 fb324064-b779-4699-a34c-e7843d399d8e http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_0839.jpg?derivative=thumb http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_0839.jpg?derivative=micro <div style="padding: 0px; " class="style_External_0_0"><div class="style_2"><p style="padding-bottom: 0pt; padding-top: 0pt; " class="Caption">I, 2. unprimed canvas from back</p></div></div> 1, 2a Arie Wallaert applies animal-skin glue, first ground http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU.html#3 3a5845a0-fff1-4431-be6a-e978801f6e43 http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/Arie%20%20prepareren%20doek%2020-8-07%20%2810%29.jpg?derivative=thumb http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/Arie%20%20prepareren%20doek%2020-8-07%20%2810%29.jpg?derivative=micro <div style="padding: 0px; " class="style_External_0_0"><div class="style_2"><p style="padding-bottom: 0pt; padding-top: 0pt; " class="Caption">1, 2a Arie Wallaert applies animal-skin glue, first ground</p></div></div> 1, 2b, Ernst van de Wettering, in Rembrandt’s studio applying two primers on canvas, red first, then grey http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU.html#4 9bf9a6c9-6c06-459b-b2bc-ea41c021fa53 http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_0001.jpg?derivative=thumb http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_0001.jpg?derivative=micro <div style="padding: 0px; " class="style_External_0_0"><div class="style_2"><p style="padding-top: 0pt; " class="paragraph_style_1">1, 2b, Ernst van de Wettering, in Rembrandt’s studio applying  two <br/></p><p style="padding-bottom: 0pt; " class="paragraph_style_1">primers on canvas, red first, then grey</p></div></div> I, 3. primed canvas from front. two primers: red and grey http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU.html#5 2a2f0624-1234-4ed9-b931-08a5c493ba93 http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_0858.jpg?derivative=thumb http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_0858.jpg?derivative=micro <div style="padding: 0px; " class="style_External_0_0"><div class="style_2"><p style="padding-bottom: 0pt; padding-top: 0pt; " class="Caption">I, 3. primed canvas from front. two primers: red and grey</p></div></div> I, 4. detail of double priming http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU.html#6 c11ac518-1f5a-441e-bda6-4936fe2dc8a7 http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_0859.jpg?derivative=thumb http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_0859.jpg?derivative=micro <div style="padding: 0px; " class="style_External_0_0"><div class="style_2"><p style="padding-bottom: 0pt; padding-top: 0pt; " class="Caption">I, 4. detail of double priming</p></div></div> I, 5. detail showing cusping after cords cut from canvas http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU.html#7 9e808516-73fe-4002-aa96-0884ec44ffcd http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_2805.jpg?derivative=thumb http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_2805.jpg?derivative=micro <div style="padding: 0px; " class="style_External_0_0"><div class="style_2"><p style="padding-bottom: 0pt; padding-top: 0pt; " class="Caption">I, 5. detail showing cusping after cords cut from canvas </p></div></div> I, 6. back of canvas after painting completed http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU.html#8 b268de88-e26a-4450-9418-295e7336887a http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_2801.jpg?derivative=thumb http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_2801.jpg?derivative=micro <div style="padding: 0px; " class="style_External_0_0"><div class="style_2"><p style="padding-bottom: 0pt; padding-top: 0pt; " class="Caption">I, 6. back of canvas after painting completed </p></div></div> II, Rembrandt, Johannes Uyttenbogaert, 1633, catalog reproduction http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU.html#9 46785f1c-8f17-4036-9c3b-8af9c6a88c15 http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_2748.jpg?derivative=thumb http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_2748.jpg?derivative=micro <div style="padding: 0px; " class="style_External_0_0"><div class="style_2"><p style="padding-bottom: 0pt; padding-top: 0pt; " class="Caption">II, Rembrandt, Johannes <span style="line-height: 17px; " class="style_3">Uyttenbogaert, 1633, catalog reproduction</span></p></div></div> II, 1, preparatory drawing by Koslow after catalog reproduction http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU.html#10 ad352e51-b178-404e-b042-7c0cc0e591df http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_1335.jpg?derivative=thumb http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_1335.jpg?derivative=micro <div style="padding: 0px; " class="style_External_0_0"><div class="style_2"><p style="padding-bottom: 0pt; padding-top: 0pt; " class="Caption">II, 1, preparatory drawing by Koslow after catalog reproduction</p></div></div> II, 2, preparatory drawing by Koslow after catalog reproduction, detail of head http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU.html#11 9bb39a08-4b1c-470f-86cd-07b41b101691 http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_1337.jpg?derivative=thumb http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_1337.jpg?derivative=micro <div style="padding: 0px; " class="style_External_0_0"><div class="style_2"><p style="padding-bottom: 0pt; padding-top: 0pt; " class="Caption">II, 2, preparatory drawing by Koslow after catalog reproduction, detail of head</p></div></div> II, 3. Johannes Uyttenbogaert, 1633, catalog reproduction, photocopy http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU.html#12 7bc33561-5d11-48cd-9985-7f92e2fc15e9 http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_2786.jpg?derivative=thumb http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_2786.jpg?derivative=micro <div style="padding: 0px; " class="style_External_0_0"><div class="style_2"><p style="padding-bottom: 0pt; padding-top: 0pt; " class="Caption">II, 3. Johannes <span style="line-height: 17px; " class="style_3">Uyttenbogaert, 1633, catalog reproduction, photocopy</span></p></div></div> II. 4, Johannes Uyttenbogaert, 1633, catalog reproduction, photocopy with overdrawing in black,, white and naples yellow chalk http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU.html#13 4d2e9934-d8fe-415f-8d71-e5be254502c1 http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_2782.jpg?derivative=thumb http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_2782.jpg?derivative=micro <div style="padding: 0px; " class="style_External_0_0"><div class="style_2"><p style="padding-bottom: 0pt; padding-top: 0pt; " class="Caption">II. 4, Johannes <span style="line-height: 17px; " class="style_3">Uyttenbogaert, 1633, catalog reproduction, photocopy with overdrawing in black,, white and naples yellow chalk</span></p></div></div> II, 5. Johannes Uyttenbogaert, catalog reproduction, preparatory drawing in graphite and chalk of ruff http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU.html#14 91450f30-7cec-4125-b2d3-8715a5c0ce26 http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_1358.jpg?derivative=thumb http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_1358.jpg?derivative=micro <div style="padding: 0px; " class="style_External_0_0"><div class="style_2"><p style="padding-bottom: 0pt; padding-top: 0pt; " class="Caption">II, 5. Johannes <span style="line-height: 17px; " class="style_3">Uyttenbogaert, catalog reproduction, preparatory drawing in graphite and chalk of ruff</span></p></div></div> Rembrandt, Johannes Uyttenbogaert, 1633, Amsterdam, high-resolution photograph for reference in studio http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU.html#15 e89e1492-7c4c-46a2-ba03-b15f218378fb http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_0322.jpg?derivative=thumb http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_0322.jpg?derivative=micro <div style="padding: 0px; " class="style_External_0_0"><div class="style_2"><p style="padding-bottom: 0pt; padding-top: 0pt; " class="paragraph_style_2">Rembrandt, Johannes <span style="line-height: 11px; " class="style_4">Uyttenbogaert, 1633, Amsterdam, high-resolution photograph for reference in studio</span></p></div></div> III, 1. Undermodelling, aka “Dead Color” or “Lay In.” Rembrandt used raw umber, a dark brown (ferric oxide + manganese oxide), with linseed oil; it dries rapidly. http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU.html#16 6e62781b-850e-423c-a705-4d01020abbf0 http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_0904.jpg?derivative=thumb http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_0904.jpg?derivative=micro <div style="padding: 0px; " class="style_External_0_0"><div class="style_2"><p style="padding-bottom: 0pt; padding-top: 0pt; " class="paragraph_style_2">III, 1. Undermodelling, aka “Dead Color” or “Lay In.” Rembrandt used raw umber, a dark brown (ferric oxide + manganese oxide), with linseed oil; it dries rapidly. </p></div></div> III, 2. Undermodelling, aka “Dead Color” or “Lay In.” Rembrandt used raw umber, a dark brown (ferric oxide + manganese oxide), with linseed oil; it dries rapidly. detail. http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU.html#17 5bb24e7c-20f0-46a6-901d-24ea4dd9a8e3 http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_0905.jpg?derivative=thumb http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_0905.jpg?derivative=micro <div style="padding: 0px; " class="style_External_0_0"><div class="style_2"><p style="padding-bottom: 0pt; padding-top: 0pt; " class="paragraph_style_2">III, 2. Undermodelling, aka “Dead Color” or “Lay In.” Rembrandt used raw umber, a dark brown (ferric oxide + manganese oxide), with linseed oil; it dries rapidly. detail. </p></div></div> III, 3. first layer of paint http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU.html#18 6ef050f6-e112-48a3-a170-58ac71ca1fd7 http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_0950.jpg?derivative=thumb http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_0950.jpg?derivative=micro <div style="padding: 0px; " class="style_External_0_0"><div class="style_2"><p style="padding-bottom: 0pt; padding-top: 0pt; " class="Caption">III, 3. first layer of paint</p></div></div> III, 4. first layer of color, right side of face http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU.html#19 57cf8fa3-e347-4477-9b78-8540691a436a http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_0953.jpg?derivative=thumb http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_0953.jpg?derivative=micro <div style="padding: 0px; " class="style_External_0_0"><div class="style_2"><p style="padding-bottom: 0pt; padding-top: 0pt; " class="Caption">III, 4. first layer of color, right side of face</p></div></div> III, 5. second layer of color, detail, no definition in color http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU.html#20 9ca8804e-20ee-46fe-9a34-877187609b9a http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_0988.jpg?derivative=thumb http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_0988.jpg?derivative=micro <div style="padding: 0px; " class="style_External_0_0"><div class="style_2"><p style="padding-bottom: 0pt; padding-top: 0pt; " class="Caption">III, 5. second layer of color, detail, no definition in  color</p></div></div> III, 6. second layer with adjustments http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU.html#21 2174d10b-e9d6-4bb2-afc0-f93f3080ca2b http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_0986.jpg?derivative=thumb http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_0986.jpg?derivative=micro <div style="padding: 0px; " class="style_External_0_0"><div class="style_2"><p style="padding-bottom: 0pt; padding-top: 0pt; " class="Caption">III, 6. second layer with adjustments</p></div></div> III, 7. second layer with tonal adjustments to right cheek, nose and right forehead, under Ernst van de Wetering’s guidance http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU.html#22 56d696bd-2b8e-4b9a-808a-1172e1be809b http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_0989.jpg?derivative=thumb http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_0989.jpg?derivative=micro <div style="padding: 0px; " class="style_External_0_0"><div class="style_2"><p style="padding-bottom: 0pt; padding-top: 0pt; " class="paragraph_style_3">III, 7. second layer with tonal adjustments to right cheek, nose and right forehead, under Ernst van de Wetering’s guidance </p></div></div> III, 8. second layer with tonal adjustments to right cheek, nose and right forehead, under Ernst van de Wetering’s guidance. Detail http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU.html#23 a5299d46-acdb-4947-b0e1-8c022c546404 http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_0990.jpg?derivative=thumb http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_0990.jpg?derivative=micro <div style="padding: 0px; " class="style_External_0_0"><div class="style_2"><p style="padding-bottom: 0pt; padding-top: 0pt; " class="paragraph_style_3">III, 8. second layer with tonal adjustments to right cheek, nose and right forehead, under Ernst van de Wetering’s guidance. Detail</p></div></div> III, 9. Palette with flesh tones: van de Wetering http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU.html#24 7de75156-aed0-4a88-8764-e8915b415b9c http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_0991.jpg?derivative=thumb http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_0991.jpg?derivative=micro <div style="padding: 0px; " class="style_External_0_0"><div class="style_2"><p style="padding-bottom: 0pt; padding-top: 0pt; " class="Caption">III, 9. Palette with flesh tones: van de Wetering</p></div></div> III, 10. adjustments to cap, ruff, background, http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU.html#25 a15ae3fb-a114-431a-b657-66a5a06dc949 http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_1003_2.jpg?derivative=thumb http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_1003_2.jpg?derivative=micro <div style="padding: 0px; " class="style_External_0_0"><div class="style_2"><p style="padding-bottom: 0pt; padding-top: 0pt; " class="Caption">III, 10. adjustments to cap, ruff, background, </p></div></div> III, 11. the painting cut from the strainer http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU.html#26 64604e11-318b-42cd-b3d5-697a096dfc6c http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_1199.jpg?derivative=thumb http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_1199.jpg?derivative=micro <div style="padding: 0px; " class="style_External_0_0"><div class="style_2"><p style="padding-bottom: 0pt; padding-top: 0pt; " class="Caption">III, 11. the painting cut from the strainer</p></div></div> III, 12. remnants of color, tonal experiments at lower right of canvas http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU.html#27 2b81335c-b14e-43f8-9a85-0bfe68efeaba http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_2804.jpg?derivative=thumb http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_2804.jpg?derivative=micro <div style="padding: 0px; " class="style_External_0_0"><div class="style_2"><p style="padding-bottom: 0pt; padding-top: 0pt; " class="paragraph_style_4">III, 12. remnants of color, tonal experiments at lower right of canvas</p></div></div> III, 13. Johannes Uyttenbogaert, detail http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU.html#28 b3e15a28-6791-4bce-978b-dbd5413e8ea0 http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_1200_2.jpg?derivative=thumb http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_1200_2.jpg?derivative=micro <div style="padding: 0px; " class="style_External_0_0"><div class="style_2"><p style="padding-bottom: 0pt; padding-top: 0pt; " class="Caption">III, 13. <span style="line-height: 17px; " class="style_3">Johannes Uyttenbogaert, detail</span> </p></div></div> III, 14. Johannes Uyttenbogaert, photo. Photograph http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU.html#29 a3a860cd-1390-444c-8381-134fefd78b79 http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_2751.jpg?derivative=thumb http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_2751.jpg?derivative=micro <div style="padding: 0px; " class="style_External_0_0"><div class="style_2"><p style="padding-bottom: 0pt; padding-top: 0pt; " class="Caption">III, 14. <span style="line-height: 17px; " class="style_3">Johannes Uyttenbogaert, photo</span>. Photograph</p></div></div> III, 15. Johannes Uyttenbogaert, detail. http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU.html#30 9a8fd035-0cc4-45a0-a492-8fe12b5f6dc0 http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_1202.jpg?derivative=thumb http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_1202.jpg?derivative=micro <div style="padding: 0px; " class="style_External_0_0"><div class="style_2"><p style="padding-bottom: 0pt; padding-top: 0pt; " class="Caption">III, 15. <span style="line-height: 17px; " class="style_3">Johannes Uyttenbogaert, detail</span>.</p></div></div> III, 16. Johannes Uyttenbogaert, detail. http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU.html#31 f3e2617e-e3a2-4278-840a-0d92e42333b3 http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_1201.jpg?derivative=thumb http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_1201.jpg?derivative=micro <div style="padding: 0px; " class="style_External_0_0"><div class="style_2"><p style="padding-bottom: 0pt; padding-top: 0pt; " class="Caption">III, 16. <span style="line-height: 17px; " class="style_3">Johannes Uyttenbogaert, detail</span>.</p></div></div> III, 17. Johannes Uyttenbogaert, detail. right side of face with ruff and background http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU.html#32 53dfb32d-72b2-417b-a8a1-69511d887831 http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_2792.jpg?derivative=thumb http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_2792.jpg?derivative=micro <div style="padding: 0px; " class="style_External_0_0"><div class="style_2"><p style="padding-bottom: 0pt; padding-top: 0pt; " class="paragraph_style_1">III, 17. <span style="line-height: 14px; " class="style_5">Johannes Uyttenbogaert, detail</span>. right side of face with ruff and background</p></div></div> III, 18. Johannes Uyttenbogaert, detail. ruff and beard http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU.html#33 32d51abb-e436-42f4-88df-e3f7b785cb0a http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_1204.jpg?derivative=thumb http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_1204.jpg?derivative=micro <div style="padding: 0px; " class="style_External_0_0"><div class="style_2"><p style="padding-bottom: 0pt; padding-top: 0pt; " class="paragraph_style_4">III, 18. <span style="line-height: 16px; " class="style_6">Johannes Uyttenbogaert, detail</span>. ruff and beard</p></div></div> III, 19. Johannes Uyttenbogaert, detail. eyes, nose, mouth, mustache and beard http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU.html#34 18b4f04d-bb1e-4f2c-beff-fd94adf5ab31 http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_1205.jpg?derivative=thumb http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_1205.jpg?derivative=micro <div style="padding: 0px; " class="style_External_0_0"><div class="style_2"><p style="padding-bottom: 0pt; padding-top: 0pt; " class="paragraph_style_3">III, 19. <span style="line-height: 12px; " class="style_7">Johannes Uyttenbogaert, detail</span>. eyes, nose, mouth, mustache and beard</p></div></div> III, 20. Johannes Uyttenbogaert, high resolution photograph http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU.html#35 01f5711f-1e84-4703-94a4-8d987e8a35b6 http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_2752.jpg?derivative=thumb http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_2752.jpg?derivative=micro <div style="padding: 0px; " class="style_External_0_0"><div class="style_2"><p style="padding-bottom: 0pt; padding-top: 0pt; " class="paragraph_style_5"> III, 20. <span style="line-height: 15px; " class="style_8">Johannes Uyttenbogaert, high resolution photograph</span></p></div></div> III, 21. Johannes Uyttenbogaert, ruff http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU.html#36 f86b2d51-3326-4e4e-b919-5c5ac8e707d1 http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_2787.jpg?derivative=thumb http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_2787.jpg?derivative=micro <div style="padding: 0px; " class="style_External_0_0"><div class="style_2"><p style="padding-bottom: 0pt; padding-top: 0pt; " class="Caption"> III, 21. <span style="line-height: 17px; " class="style_3">Johannes Uyttenbogaert, ruff</span></p></div></div> III, 22. Johannes Uyttenbogaert, ruff, detail http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU.html#37 a288f3c4-afd0-404b-b366-dcff4f5f9365 http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_2790.jpg?derivative=thumb http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_2790.jpg?derivative=micro <div style="padding: 0px; " class="style_External_0_0"><div class="style_2"><p style="padding-bottom: 0pt; padding-top: 0pt; " class="Caption"> III, 22. <span style="line-height: 17px; " class="style_3">Johannes Uyttenbogaert, ruff, detail</span></p></div></div> III, 23. Johannes Uyttenbogaert, ruff, beard http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU.html#38 7d390ba5-a229-40a4-9343-2fd2e1d62da7 http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_2797.jpg?derivative=thumb http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_2797.jpg?derivative=micro <div style="padding: 0px; " class="style_External_0_0"><div class="style_2"><p style="padding-bottom: 0pt; padding-top: 0pt; " class="Caption"> III, 23. <span style="line-height: 17px; " class="style_3">Johannes Uyttenbogaert, ruff, beard</span></p></div></div> III, 24. Johannes Uyttenbogaert, shadow on right side of ruff http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU.html#39 d7d13e80-a3f5-457e-8eed-0a01919811a2 http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_2806.jpg?derivative=thumb http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_2806.jpg?derivative=micro <div style="padding: 0px; " class="style_External_0_0"><div class="style_2"><p style="padding-bottom: 0pt; padding-top: 0pt; " class="paragraph_style_5"> III, 24. <span style="line-height: 15px; " class="style_8">Johannes Uyttenbogaert, shadow on right side of ruff</span></p></div></div> III, 25. Johannes Uyttenbogaert, ruff detail http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU.html#40 b80d1b58-2c79-4e34-9b4f-550ebb09e33f http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_2795.jpg?derivative=thumb http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_2795.jpg?derivative=micro <div style="padding: 0px; " class="style_External_0_0"><div class="style_2"><p style="padding-bottom: 0pt; padding-top: 0pt; " class="Caption"> III, 25. <span style="line-height: 17px; " class="style_3">Johannes Uyttenbogaert, ruff detail</span></p></div></div> III, 26. Johannes Uyttenbogaert, detail, fur on left side of shoulder http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU.html#41 533121b7-5b52-43ce-91c6-763d725e138f http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_2791.jpg?derivative=thumb http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_2791.jpg?derivative=micro <div style="padding: 0px; " class="style_External_0_0"><div class="style_2"><p style="padding-bottom: 0pt; padding-top: 0pt; " class="paragraph_style_1"> III, 26. <span style="line-height: 14px; " class="style_5">Johannes Uyttenbogaert, detail, fur on left side of shoulder</span></p></div></div> III, 27. Johannes Uyttenbogaert, detail, fur on right side of shoulder and ruff in shadow http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU.html#42 0b77eb5a-6767-44ec-8b14-037a72e57b93 http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_2794.jpg?derivative=thumb http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_2794.jpg?derivative=micro <div style="padding: 0px; " class="style_External_0_0"><div class="style_2"><p style="padding-bottom: 0pt; padding-top: 0pt; " class="paragraph_style_3"> III, 27. <span style="line-height: 12px; " class="style_7">Johannes Uyttenbogaert, detail, fur on right side of shoulder</span> and ruff in shadow</p></div></div> III, 28. Johannes Uyttenbogaert, detail. http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU.html#43 d04c6bf5-0625-4334-9a3c-0d59c338a11e http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_1200.jpg?derivative=thumb http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_1200.jpg?derivative=micro <div style="padding: 0px; " class="style_External_0_0"><div class="style_2"><p style="padding-bottom: 0pt; padding-top: 0pt; " class="Caption">III, 28. <span style="line-height: 17px; " class="style_3">Johannes Uyttenbogaert, detail</span>.</p></div></div> III, 29. Johannes Uyttenbogaert, left eye http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU.html#44 6cbf0346-c4d5-4794-a639-e011a8575d59 http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_2800.jpg?derivative=thumb http://web.me.com/profkoslow/Susan_Koslow/RembrandtAMSU_files/Media/IMG_2800.jpg?derivative=micro <div style="padding: 0px; " class="style_External_0_0"><div class="style_2"><p style="padding-bottom: 0pt; padding-top: 0pt; " class="Caption">III, 29. <span style="line-height: 17px; " class="style_3">Johannes Uyttenbogaert, left eye</span></p></div></div>