Europa w latach 1300 - 1800
Kurs: Europa w latach 1300 - 1800 > Rozdział 9
Lekcja 4: Holenderska Republika Zjednoczonych Prowincji- Saenredam, Interior of Saint Bavo, Haarlem
- Hals, Singing Boy with Flute
- Hals, Malle Babbe
- Frans Hals, The Women Regents
- Rembrandt, The Anatomy Lesson of Dr. Tulp
- Rembrandt, The Anatomy Lesson of Dr. Tulp
- Rembrandt, The Night Watch
- Rembrandt, The Night Watch
- Rembrandt, Autoportret z Saskią
- Rembrandt, Dziewczyna w oknie
- Rembrandt, Christ Crucified between the Two Thieves: The Three Crosses.
- Rembrandt, Batszeba w kąpieli - film z polskimi napisami
- Rembrandt, Self-Portrait
- Rembrandt, Self-Portrait with Two Circles
- Rembrandt, The Jewish Bride
- Czy to autentyczny Rembrandt?
- Judith Leyster, The Proposition
- Judith Leyster, Self-Portrait
- Willem Kalf, Still Life with a Silver Ewer
- Gerrit Dou, A Woman Playing a Clavichord
- Vermeer, Kielich wina - film z polskimi napisami
- Vermeer, Kobieta z dzbanem - film z polskimi napisami
- Jan Vermeer, Ważąca perły
- Vermeer, Woman Holding a Balance
- Johannes Vermeer, Girl with a Pearl Earring
- Johannes Vermeer, The Art of Painting
- Jan Steen, Feast of St. Nicholas
- Ruisdael, View of Haarlem with Bleaching Grounds
- Rachel Ruysch, Owoce i owady
- Ruysch, Flower Still-Life
- Van Huysum, Wazon z kwiatami
- Conserving van Walscapelle's Flowers in a Glass Vase
- The Town Hall of Amsterdam
- Huis ten Bosch (House in the Woods)
- Baroque art in Holland
Rembrandt, Christ Crucified between the Two Thieves: The Three Crosses.
Met curator Nadine Orenstein on universal emotion in Rembrandt van Rijn’s Christ Crucified between the Two Thieves: The Three Crosses, 1653.
The Three Crosses, Rembrandt's finest works in any medium, represents the culmination of his virtuosity as a printmaker. He drew on the copperplate entirely in drypoint which allowed him to fully exploit the velvety areas of burr raised by the drypoint tool as it cut into the copper. When Rembrandt created this impression, he deliberately left ink on the printing plate; it lightly veils the figures standing at the foot of the cross on the right; a thicker layer almost completely covers the bushes along the right edge. By creatively inking the copperplate, Rembrandt in a certain sense painted each impression. Each time he printed the copperplate he created a unique work. He further varied impressions by printing them on different supports; this impression is printed on vellum, which infuses the composition with a warm light. Vellum, less absorbent than paper, holds ink on the surface, softening lines and enhancing the richness of entire effect.
View this work on metmuseum.org.
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. Stworzone przez: Metropolitan Museum of Art.