DOI Heft:
Nr. 3-4
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#0346
336
Anna Grochowska-Angelus, Katarzyna Novljaković
9. Scene with the Good Samaritan before
conservation
10. Crowns of trees seen in detail, revealing
the progress of painting through the
application of
primer and variations in surface
11. Close-up oftree trunk with furrows
scratched out with the brush end
have been applied to the still wet paint; most probably using the brush handle to expose the light
colour of the priming beneath, while the branches softly fade away in the background. Wide
touches of green earth are visible on the trunk and the tree top. They were lightened by an addition
of ochre in the sunlight parts of the withered bough and on the twisted branches. Individual leaves
glittering in the sun were painted with a liquid ochre mixed with green, with a thin round brush, in
short movements and strokes of the brush tip that created the effect of a protruding texture. The
contour of the tree was partly marked with a soft brush in semi-transparent black.33
The road heading towards the city was painted using the transparency of the light primer and,
in the shadowy areas, with the umber base from the sketch. In the brightly lit foreground, just
above the signature, there is a patch of cool ochre broken with green. The Samaritan leading the
injured man mounted on the horse and placed in the darker area ofthe picture, was painted mono-
chromatically in a semi-opaque broken green, with the drawn line highlighted on the surface by
black strokes with a soft round brush. The body of the injured victim on the horse was brought out
simply by a brighter colour patch with an outline.
A bit farther near the road are two other groups of people. Both are sketched sparingly. The
closer group, of hunters with gun smoke visible, was painted in dark patches with greenish face
and hand carnations. The more distant figures, comprising a couple carrying a child witnessing the
event, was also painted in dark patches with an outline and brighter, fresh hues in a number of
places. The forest in the background was painted thinly, in a spontaneous manner. The foliage
33 Flat and rounded brushes are a contemporary distinction; in Rembrandt's times rounded brushes alone were known.
The contrasting construction of the brush allowed different stroke and dabbing effects. The flat brush was introduced as
late as around 1860. Cf.: R. MAYER, Dictionary ofArt Terms and Techniques, Glasgow 1991, pp. 52-3.
Anna Grochowska-Angelus, Katarzyna Novljaković
9. Scene with the Good Samaritan before
conservation
10. Crowns of trees seen in detail, revealing
the progress of painting through the
application of
primer and variations in surface
11. Close-up oftree trunk with furrows
scratched out with the brush end
have been applied to the still wet paint; most probably using the brush handle to expose the light
colour of the priming beneath, while the branches softly fade away in the background. Wide
touches of green earth are visible on the trunk and the tree top. They were lightened by an addition
of ochre in the sunlight parts of the withered bough and on the twisted branches. Individual leaves
glittering in the sun were painted with a liquid ochre mixed with green, with a thin round brush, in
short movements and strokes of the brush tip that created the effect of a protruding texture. The
contour of the tree was partly marked with a soft brush in semi-transparent black.33
The road heading towards the city was painted using the transparency of the light primer and,
in the shadowy areas, with the umber base from the sketch. In the brightly lit foreground, just
above the signature, there is a patch of cool ochre broken with green. The Samaritan leading the
injured man mounted on the horse and placed in the darker area ofthe picture, was painted mono-
chromatically in a semi-opaque broken green, with the drawn line highlighted on the surface by
black strokes with a soft round brush. The body of the injured victim on the horse was brought out
simply by a brighter colour patch with an outline.
A bit farther near the road are two other groups of people. Both are sketched sparingly. The
closer group, of hunters with gun smoke visible, was painted in dark patches with greenish face
and hand carnations. The more distant figures, comprising a couple carrying a child witnessing the
event, was also painted in dark patches with an outline and brighter, fresh hues in a number of
places. The forest in the background was painted thinly, in a spontaneous manner. The foliage
33 Flat and rounded brushes are a contemporary distinction; in Rembrandt's times rounded brushes alone were known.
The contrasting construction of the brush allowed different stroke and dabbing effects. The flat brush was introduced as
late as around 1860. Cf.: R. MAYER, Dictionary ofArt Terms and Techniques, Glasgow 1991, pp. 52-3.