Any review and interpretation would inevitably be trimmed, because so is the piece in its current condition. Still, we can discuss what is at hand as if it were a complete work of art. The most salient compositional feature of this group portrait is the clustering: in what appears to be Rembrandt’s trademark device, the crowd is divided into several groups, each with its own distinct dynamic. Additionally, the groups relate to each other to create a complex and truly grand composition. Each smaller congregation may be viewed as a miniature separate painting that conceptually echoes the overall design, a local person representing a group and the local central figure the lavishly illumined captain, around whom the groups gather. Such symmetry makes particular sense in the militant context of the scene, reflecting the notion of the chain of command.

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Three groups encompass the two central figures and we can presume that a lieutenant dominates each of these subordinate gatherings. Weapons and accessories connect between them: a pike, a rifle (probably a musket) and a flag — an original compositional adhesion that also serves as a symbolic reminder of the nature and possible consequences of tasks assigned to the town militia. These men are brothers in arms, literally linked by their weapons, and just as they point them towards each other here, in a simulative display, they would do so to confront a real enemy on an actual mission. One of the most striking features of this piece is the general mood of apprehension and awareness of a mutual goal, transpiring despite the appearance of everybody being focused on themselves, either their thoughts or equipment. Composition overcomes private distractions, and brings everything together, making the painting an exemplar of unity.

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I cannot find any explanation as to why the girl on the left is alighted as strongly as the captain. Perhaps she was intended to be a part of the narrative which is now missing. One could imagine that she is the daughter of one of the portrayed, or the messenger who caused the whole bustle. In the first case, the light discloses a kinship with the similarly illumined commander, whereas in the second it emphasizes the importance of the messenger — of knowledge and information — as equal to that of dealing with it later on. Finally, I would also mention the strong illusion of sound: cleaning of armament, talking and arguing, clinking of metal and last but not least the beating of the drum. Noise completes the scene, imbuing it with a somewhat cinematic element and adding another touch of realism, which still, as a group portrait (and cinema) requires, is relied on acting and posing.

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The Anatomy Lesson of Dr. Nicolaes Tulp Buy From Art.com

It’s quite amusing to watch these men partake in a lesson, so much the event reminds me of actual classroom proceedings. There are the most active students, sitting in the first rows, attentive and perhaps overzealous, the moderately keen middle rows, and the back, where the bored and distracted sit (stand). This is a recognizable model of probably every lesson everywhere, in any era; a psychological impression of such sensibility as to render it universal and recognizable by anyone who ever attended school. The authoritative figure of the Doctor himself defines the mood as clinical, in both senses, and thus shapes the attitude towards death as to a matter of fact occurrence, which should be dealt with scientifically — an approach completely opposite to Renaissance depictions of saintly martyrdoms (the corpse belongs to a known criminal) and inherent to Protestant worldly pragmatism.

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Rembrandt chose a classic pyramid shape for the composition. One figure presides over the whole configuration, while the laying body serves as its basis and the doctor forms the right corner. Moreover, he used an effective device to scatter the crowded mass and assist the viewer in absorbing the multitude of visual data: participants are clustered, into other geometrical forms. The three central figures make up an inner triangle, the two right most men describe an arch, and the two left most a simple line. To further vary the geometry, almost each jabot presents a different shape, either due to gravity, or by light manipulation (the variety in these textile adornments also relieves the bothering sameness of the facial hair, despite the nearly ridiculous diversity of the mustaches).

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Finally, the artist subjected the light to the thematic purpose of the painting, carefully illuminating every individual portrait. Rembrandt emphasizes the abysmal gap between the living and the dead by way of creating a powerful contrast: the bodies of the former are enshrouded in black and their expressions are well lit, whereas the face of the latter is in shadow, while his torso and chest focus most of the light. I think that this confrontation may point towards both the physical (the bodies) and moral and spiritual (facial expressions and light) divergence, which, once again, is one of the main themes of this magnificent piece.

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• Rembrandt: Bathsheba with King David’s Letter

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But I find the artist’s method of conveying the content of the letter even cleverer. Without the need to go into the biblical details, it is easy to recognize the subject of the message as the nude sitter in front of us — indeed a subject, of the king this time, and an object, of his sexual desires. Though the sexiness of the luscious curves of the woman’s body may seem questionable by our contemporary standards, it was then the model of female attractiveness? and understandably so: the plumpness attests to high fertility, a universal sexual lure. Particularly the excessive belly fat demonstrates the female’s ability to properly feed a possible baby. There are several attributes that substitute clothing as a telling sign of refined manners: the exquisite done hair, the jewelry on the lady’s neck and right arm, and the pearl earrings. The elegant pose and the maid complete the picture.

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I would like to discuss the triangular composition and how it serves to immerse the viewer in the conflict at hand. One of the lines of the imaginary geometrical figure is also imaginary: the above mentioned gaze that connects Bathsheba’s eyes with her servant. This line assumes symbolic meaning; the lady is literally busy from head to toe with what is about to happen. First, there is the mental and moral concern and second, the preparation and making of her toilet for the meeting with David. The letter is right in the middle, and on the same level as her genitals — in fact, it may appear to echo the infamous fig leaf, inviting a flood of compatible associations on the original sin, illicit sexual encounter, shame and knowledge. In one way or another, all of these factors are involved in the (future) proceedings. One possible interpretation would posit that the language used to write the letter is the metaphysical carrier of the knowledge unduly obtained from that same tree, thus linking the depicted event with the legendary one.

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Jacob Blessing the Children of Joseph… Buy From Art.com

The mother’s figure stands in conflict with her facial expression. Her eyes speak eloquently of the deepest love and concern, of awareness of the significance of the moment, yet she cannot allow herself to even look into the direction of her sons, not to say anything of touching (as, for instance, does Joseph, as he guides Jacob’s hand). This is an unnatural, and even cruel removal, and her body, stiff and with hands clasped in compliance contradicts the profound tenderness that her countenance and head inclination show. The lack of actual physical contact between the woman and her offspring is the more clear considering her proximity to the children. All this is not incidental: the process of blessing involves placing the palm on the receiver’s head, and any touching would indicate some sort of involvement, which was strictly prohibited for females. The division of sexes and the resulting tension threaten to redirect sympathy towards the mother, at the expense of the family as a whole.

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But the family as a single unit still dominates the scene. There are three generations, and the act of blessing ensures the spiritual continuation, which is no less important than the genetic one. The intimacy of the event is emphasized by the screen visible in the upper corners — and is presumably transformed into secrecy. Light originates from the left and above, behind Jacob’s back, and brings to mind a divine and spiritual illumination; since the source is not visible, one may assume that these faces shine from some kind of inner source. Interesting is Rembrandt’s choice of apparel for his models: Joseph wears a turban, a head gear usually assigned to exotic eastern characters from the biblical past; I can’t determine whether the mother’s sophisticated head gear is similarly ancient. The furs on Jacob’s side allude to his regal status as the forefather of the Judeo-Christian tradition.

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The background is almost blank showing only a few shapes of architecture, and some trees and leaves. The source of light is unclear. Light could come from above or from the viewer’s direction; but, it doesn’t matter, because the faces of the couple seem to glow by themselves, which was apparently the artist’s way of intensifying the mood. The softness of the light marks the feelings as being appropriately gentle, tender and sweet. The gestures reaffirm what the facial features express, and particularly charming is the fact that the groom and the bride don’t look directly into each other’s eyes; their gazes, the girl’s blush and the spontaneous awkward movements reveal shyness, embarrassment from the moment — which the young man tries to dispel in a somewhat clumsy, though loving embrace. These newlywed man and woman look inside themselves, as if wishing to savor the moment and imprint it into their memories.

Jacob Blessing the Children of Joseph… Buy From Art.com

The composition is fairly classical in its pyramid shape. The hands of the actors constitute the most physically animated part of the scene and evince complex symmetry; it seems as though these body parts play an ornamental compositional role, decorating the otherwise simplified scene. The garments, though rich and festive, cannot vie with the richness of the facial expressions, and, in fact seem to sit uncomfortably on the wearers. What sets this piece apart from the renaissance artwork I discussed earlier is the encompassing naturalism and realism of the subjects. A stylistic break makes itself clearly visible, with notable tendencies towards more realistic play of light and darkness, less rigid composition and a shift towards intimacy and individualization, as opposed to grand spiritual generalization of the Renaissance. Though all of these changes can be attributed only to Rembrandt, most of them reappear in contemporary artwork, conjoined as the main components of European Baroque painting.

P.S. The groom resembles Gary Oldman.

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