. Portrait . randt was anything but one-sided, norwas the formula more important than many of his otherinnovations. Rembrandt composed in light and shade. Aside fromcolor it was his main vehicle of expression. He knewthat there is nothing more favorable to bring out thepicturesque qualities of objects, and in particular of aface, than the play of light and shade upon undulatingsurfaces. He exhausted it in every direction. Everyface presented a new problem to him for the applica-tion of some sparkling high light, some translucentshadow, or some unexpected clearly defined boundaryline between lu
. Portrait . randt was anything but one-sided, norwas the formula more important than many of his otherinnovations. Rembrandt composed in light and shade. Aside fromcolor it was his main vehicle of expression. He knewthat there is nothing more favorable to bring out thepicturesque qualities of objects, and in particular of aface, than the play of light and shade upon undulatingsurfaces. He exhausted it in every direction. Everyface presented a new problem to him for the applica-tion of some sparkling high light, some translucentshadow, or some unexpected clearly defined boundaryline between luminous and shadowy planes, as in the accompanying portrait ofSaskia. How the lightcaresses the face andplays upon the shoulder!He invented a dozennew schemes of illumi-nation and it would bedifficult to mention any-thing more instructive tothe art student than astudy of these classify and analyzethem would far exceedthe scope of this can, however, pointu jr i u out a few of the leading. P o r £ v a i t
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Keywords: ., boo, bookcentury1900, bookdecade1900, bookidportrait519131914ansc
