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Rembrandt Le Brun Support Sheets
Rembrandt Le Brun Support Sheets
Rembrandt Le Brun Support Sheets
‘undoubtedly the greatest interpreter of the human personality in the history of painting’
(Morrall, 1988)
Young and optimistic culture in the recently independent Dutch Republic, formed 1581
Known for portraiture and biblical narrative; studied own face extensively (over 60 self-
portraits are known) helped him with understanding of emotion, expression and personality
Son of a miller – Harman van Rijn
Enrolled at Leyden University age 14, probably to study theology; left after a few months
Public taste turned away from his work midway through his career meaning his final years
were full of debt, loss of patrons, and deaths of loved ones (Andrews, 2016)
Married Saskia in 1634, drew that sketch 3 days after they got engaged. Tough time together
– three of their four children died in infancy, there was a plague outbreak from 1635
Better few years around 1639 – super successful
But then his mum died in 1640, Saskia died in 1642, one son (Titus) lived til age 27 but died
the year before Rembrandt did…holy moly
(Titus had a baby daughter though so he wasn’t completely alone which is slightly less
heartbreaking)
Lebrun 1755-1842
Saskia as Flora
Reflects contemporary ‘nostalgia for the simple virtues of country life’ (Louttit, 1973)
Fashionable at the same time, high waistline and closeness to bodice neckline reflect 1630s
bourgeois fashion whilst also being pastoral. Headband substitutes hair
Glorification; idea that arcadian dress reflected purity of spirit and true simplicity (Louttit,
1973). Contemporary pastoral poets equated city clothes with falsity in love.
Chiaroscuro allows all focus to fall on the subject, not distracted by background although
there are some subtle floral details on top left. Emphasises use of light; source coming from
the top left draws eye to face/chest/ornate detail on dress.
Thick impasto paint adds texture to fabric. Can see individual brushstrokes in person, 3D –
shadows from the paint ridges mimic shadows that would fall from the real fabric. Also
achieves softness of hair and skin by building up thin layers of oil paint.
Colours include pale lemon-gold like a spring sunrise, grass green for most of dress, gentle
copper of luxurious soft hair – all very mellow, blend together, harmonious – reflects
idealised vision
Facial expression is warm and kind, Rembrandt showing off expertise at capturing
personality and expressing his love for his wife
Symbolism of staff – establishes pastoral themes of shepherdess. Also retrospectively very
sad because staff a sign of weakness (needing the support) and Sas would die 7 years later.
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Sprig in her hair and the bouquet she holds solidifies identity as Flora, goddess of Spring.
Bouquet beautiful but dark and wilting; Rembrandt simultaneously shows immortality (by
immortalising Saskia as a goddess through this painting) and mortality (by the wilting of the
flowers and the unintentional heartbreaking foreshadowing of her death).
Chiaroscuro again which contrasts with paleness of her face and dress
Sweeping curved lines of the fabrics of her dress, the feather plumes and soft hand posture
reflects delicacy and femininity
Balanced colour palette – hues of grey, pink and gold are distributed evenly, providing
harmony to the painting
Scandalous as this chemise dress was basically underwear, there was contemporary uproar
(I’ll show you the second version of the painting on the next slide)
Lebrun intended this to seem casual, not show the queen as a superior monarch
Saskia is dressed in unrealistic, ornate costume, in character of Flora; Queen has exchanged
her usual extravagant dress for a much more vulnerable presentation in character of Marie
Subjects renowned for different personalities; Saskia’s warmth vs Marie’s famous frivolity
Lighting effects; R’s subtlety and shading, light used sparingly but effectively. L’s SPOTLIGHT
means although the costume is comparatively simple, it’s still a grand spectacle of a painting
R’s flowers symbolise the goddess of Spring, L’s flowers are just because flowers are pretty
Different purposes: R a loving expression of his wife’s beauty, L commission from the queen
Same chiaroscuro. Political surroundings – formation of Dutch Republic 1581, French
Revolution would happen 1789-99 (following America’s independence in 1776).
Both subjects died young – Sas of probably TB aged 30, Marie beheaded age 37
Subjects from wealthy families – Sas’s father was a Frisian mayor, Marie’s mum was Empress
of Austria and her dad was Holy Roman Emperor
Both paintings, in different ways, glorify simplicity; that of a country shepherdess looking her
best, and that of a queen looking exposed
Bibliography
Andrews, J., 2016. This Is Rembrandt. London: Laurence King Publishing.
Heller, N. G., 1987. Woman Artists: An Illustrated History. New York: Cross River Press.
Louttit, M., 1973. The Romantic Dress of Saskia van Ulenborch: Its Pastoral and Theatrical
Associations. The Burlington Magazine, pp. 317-326.
Morrall, A., 1988. The History and Techniques of the Great Masters. Surrey: Tiger Books International
Ltd.