Rembrandt

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)
Study of human face allowed for understanding of emotion, expression
and personality; exploration of Bible gave range of stories connected to
powerful emotions which he unpicked extensively
Son of a miller Harman van Rijn
Maintained throughout his life a brusqueness of manner and an
impatience with social niceties that betrayed his modest origins (Morrall,
1988)
Enrolled at Leyden University age 14, probably to study theology; left after
a few months, apprenticed with Jacob van Swanenburgh but his influences
on Rembrandt were minimal
Chiaroscuro technique from Utrecht school Dutch followers of Caravaggio
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 didholy moly
(Titus had a baby daughter though so he wasnt completely alone which is
slightly less heartbreaking)

Lebrun

Known for portraits of sensibility portraits that emphasise spontaneous

emotions, compassion, and love of nature (Tate Gallery Online, 2017)
Quintessential eighteenth-century court painter an unusually attractive,
charming, self-confident woman with the ability to present her sitters to
their best advantage (Heller, 1987)
Kept both her head and reputation during time of political upheaval in
France

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
 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
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. </3
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).
The Queen as Marie

Imagery and symbolism

But what do they mean?

Conclusion