We’ll create a copy of his portrait of Herman Doomer (from the Met collection), a painting that exhibits both the tight realism of his early years as well as moments of thick bravura from his later years.
There are few artists as legendary as Rembrandt, and for good reason. In his early career he exemplified the best qualities of detailed Dutch Golden Age painting, and in the latter half of his life he innovated a loose and painterly style that still influences artists today. Although Rembrandt used numerous different approaches over the course of his many paintings, this class will offer a general overview of his technique.Â
Week 1: Underpainting and Texture, Week 2: Color Layer Part 1, Week 3: Color Layer Part 2, Week 4: Glazing, broken color, and finishing
Materials List
Paint: White (lead white or flake white replacement or alkyd white, if you want to use titanium you must also use Galkyd)
Cadmium Yellow or Lead, Tin Yellow, Cadmium Red or Vermillion, Yellow Ochre, Burnt Sienna, Burnt Umber, Raw Umber (optional), Ivory Black,, Alizarin Crimson, Transparent Red Iron Oxide, Ultramarine Blue, Indian Yellow (optional)
Brushes: mid-size to large stiff bristle brushes (hog or synthetic hair, filbert and/or round shaped) and mid-size to small soft brushes (I like taklon synthetic or sable, filbert and/or round shaped)
Primed panel or smooth linen, 16×20 or 18×24 inches