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DOI Artikel:Grochowska-Angelus, Anna; Novljaković, Katarzyna [Mitarb.]: Rembrandt's Landscape with the Good Samaritan: Technological structure analysis and the characteristics of painting technique
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.49519#0343
REMBRANDT'S LANDSCAPE WITH THE GOOD SaMARITAN
333
4. Infrared photo. Detail with the Good
Sarmaritan, originally to be depicted as
a prostrate figure, subsequently placed on
horseback. The pentimento is clearly visible
of the samples of the brown colours taken from the shaded areas, containing the paint from the
sketch or from the topmost layer, shows that bitumen substances or Cologne earth was used.21
There is an interesting change in the composition of the painting; i.e. a pentimento - made by
Rembrandt at a later stage during the course of painting, since the injured person, mounted in the
final version on the horse, had been placed initially in a seated position on the ground.22
Chemical analysis23 of the painting confirmed the occurrence of linseed oil as the binding
medium and the following pigments: white lead, massicot, yellow ochre and red ochre, smalt,
malachite and green earth as well as umber and ivory black. The pigments must have been prepared
in haste, since not all of them have been ground thoroughly. Lumpy white particles are visible in the
sky's blue and grey colours, while individual irregular masses can be seen in the massicot pigment
used in the dark portion of the painting.
The most important feature of Rembrandt's chromatics, as is well known, is the limited use of
colours in connection with his masterly technique. The Cracow painting demonstrates
Rembrandt's dexterity in the use of yarious brushes - dry, wet, thick and thin - by applying paint
with brushstrokes in various directions, using round swings, dabbing, scratching with the brush
handle and abrading. Loose, but at the same time strong and thick patches, applied smoothly and
softly, compose a consistent and disciplined form. The thirty-two-year-old artist's impulsive
temperament and his outstanding virtuosity allowed him to work fast, even though different stages
of painting could be separated by days of drying time. Later on, he would very skilfully complement
his artistic intention; for example, by scumbling the patches of impasto.
21 Ibid., p. 24. Infrared spectrophotometry reveals the presence of organie compounds containing hydrocarbons and
paraffins of heavy molecular weight. Wetering writes about the use of bitumen substances in the composition sketch; the
organie compound were found in the examined samples by C.M. Groen; ibid., ch. II, fn. 38.
22 The pentimento was interpreted differently; cf.: Corpus A 125, page 265: 'In the IR photograph his legs appear dark,
and a less distinct light patch could be the head of the horse'. Department XII of the National Museum had an infrared
photo taken in 1985 by J. Rutkowski. In good daylight, following conservation, another person sitting by the horse
shows through the brown glaze.
23 Cf.: fn 15.
333
4. Infrared photo. Detail with the Good
Sarmaritan, originally to be depicted as
a prostrate figure, subsequently placed on
horseback. The pentimento is clearly visible
of the samples of the brown colours taken from the shaded areas, containing the paint from the
sketch or from the topmost layer, shows that bitumen substances or Cologne earth was used.21
There is an interesting change in the composition of the painting; i.e. a pentimento - made by
Rembrandt at a later stage during the course of painting, since the injured person, mounted in the
final version on the horse, had been placed initially in a seated position on the ground.22
Chemical analysis23 of the painting confirmed the occurrence of linseed oil as the binding
medium and the following pigments: white lead, massicot, yellow ochre and red ochre, smalt,
malachite and green earth as well as umber and ivory black. The pigments must have been prepared
in haste, since not all of them have been ground thoroughly. Lumpy white particles are visible in the
sky's blue and grey colours, while individual irregular masses can be seen in the massicot pigment
used in the dark portion of the painting.
The most important feature of Rembrandt's chromatics, as is well known, is the limited use of
colours in connection with his masterly technique. The Cracow painting demonstrates
Rembrandt's dexterity in the use of yarious brushes - dry, wet, thick and thin - by applying paint
with brushstrokes in various directions, using round swings, dabbing, scratching with the brush
handle and abrading. Loose, but at the same time strong and thick patches, applied smoothly and
softly, compose a consistent and disciplined form. The thirty-two-year-old artist's impulsive
temperament and his outstanding virtuosity allowed him to work fast, even though different stages
of painting could be separated by days of drying time. Later on, he would very skilfully complement
his artistic intention; for example, by scumbling the patches of impasto.
21 Ibid., p. 24. Infrared spectrophotometry reveals the presence of organie compounds containing hydrocarbons and
paraffins of heavy molecular weight. Wetering writes about the use of bitumen substances in the composition sketch; the
organie compound were found in the examined samples by C.M. Groen; ibid., ch. II, fn. 38.
22 The pentimento was interpreted differently; cf.: Corpus A 125, page 265: 'In the IR photograph his legs appear dark,
and a less distinct light patch could be the head of the horse'. Department XII of the National Museum had an infrared
photo taken in 1985 by J. Rutkowski. In good daylight, following conservation, another person sitting by the horse
shows through the brown glaze.
23 Cf.: fn 15.