Rembrandt's Painting "An Old Man in Military Costume"
With an extraordinary intensity, Rembrandt van Rijn’s “An Old Man in Military Costume” is an example of the artist’s use of dynamic lighting. The painting, on display at the Getty Museum, contains a single figure, an old man dressed in a military uniform. While one may appreciate the beauty of the work, to fully experience the passion and genius of the artist, it is necessary to see the painting in person. The delicate details that may be missed by a digital image are easily caught by the human eye. The proper way to view a Rembrandt is in the flesh; the difference is amazing.
Born in Leiden, Netherlands, Rembrandt was the son of a miller and a baker’s daughter. Unsatisfied with life at the University of Leiden, Rembrandt left school to pursue painting. He studied under Pieter Lastman who introduced the young painter to the works of Italian masters, particularly Caravaggio. Even though Rembrandt never traveled to Italy, his works bear the stamp of Italian influence, especially in his preference for dramatic lighting over Dutch smoothness. Moving to Amsterdam in 1631, Rembrandt began working for commission and became very successful. He painted “An Old Man in Military Costume” in 1631, during a time when his work was characterized by strong lighting effects. Neither a religious work nor a commissioned portrait, this work is more than likely one that Rembrandt painted for himself.
An unusual painting, “An Old Man in Military Costume” is a solitary figure against a blank background. The figure, an old man, is dressed in a somber military outfit; a simple costume without any frills or finery. The only decoration is a...
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... I was also impressed with the thought that Rembrandt touched the same canvas that I was viewing almost four hundred years ago. The painting serves as a direct link into the past; a past that is remarkable for all it accomplished.
A wonderful artistic example of light contrasting with dark, “Old Man in a Military Costume” is a remembrance of how closely connected we are with the past. When artists or historical figures are merely memorized names, they lose some of their impact; experiencing part of their lives reminds viewers of their humanity. Rembrandt’s painting has many visual layers while containing political and historical significance as well.
Work Cited
Elizabeth I. “To the English Troops at Tilbury, Facing the Spanish Armada.” The
Longman Anthology of British Literature. Vol 1B. Ed. David Damrosch. New
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The Renaissance Period is widely known for the abundance of amazing portraiture that circulated around Europe. During the Renaissance, Albrecht Dürer, a German artist painted a self-portrait in 1500 that had qualities that differed from the usual style of artist in that time (Chauhan). Jean Clouet also painted a portrait for the King of France and became the official court painter. Both artists had a talent for portraiture, while their styles were quite different. King Francis I wanted to be seen as a powerful man, and appointed Clouet to paint him in a classically renaissance way that highlights his wealth and authority. Dürer, described as a cocky, self-centered man, painted himself in a light that is unique and puts him on a ‘holy’ pedestal (Stokstad 356). In this essay I will show how although both paintings have clear differences with their style, both men in the compositions are conveyed in a great and very powerful sense.
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...wn in the succeeding works of his lifetime. It is thought that this aura of sorrow is capable of moving a person so much that a sadness like this is only found in Rembrandt's last portraits, and no other accomplished artists’. Titian’s work is significant for this effect of inspiring and stirring emotion in even the tamest heart. (“Encyclopedia of World Biography” 242-243)
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