Painting Virtuosity: Rembrandt’s Metals

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dc.contributor.advisor Griffey, E en
dc.contributor.author Hames, Emily en
dc.date.accessioned 2019-11-06T21:21:32Z en
dc.date.issued 2019 en
dc.identifier.uri http://hdl.handle.net/2292/48872 en
dc.description Full Text is available to authenticated members of The University of Auckland only. en
dc.description.abstract This thesis examines painted depictions of metals by the seventeenth-century Dutch artist Rembrandt van Rijn (1606-1669). Throughout his painted oeuvre, Rembrandt experimented with painted metals, considering their purpose within the overall effects of his paintings. Rembrandt would adapt painted metals to aid composition or enhance the narrative by emphasising notions of drama or emotion. Furthermore, painted metals were assimilated by Rembrandt to capture an assortment of lighting effects including light, shadow, light transitions and reflections. Rembrandt's painted metals were both traditional and innovative. Deploying the broad pictorial possibilities of metals, Rembrandt used only traditional painting materials and a restricted colour palette which he manipulated to produce a dazzling array of optical effects. Rembrandt experimented with a variety of innovative techniques as seen in his painted metals, such as switching between small, meticulous strokes of paint to crafting thick ridges of impasto. Rembrandt differed from his peers by considering the materiality of the paint itself, often leaving visible brushstrokes and textured passages of paint which would enhance the illusion of a metal surface. This thesis comprises of five chapters. Chapter One considers Rembrandt's treatment of metal in relation to artist treatises of the period. Chapter Two examines the tradition of painted metals as seen in comparison to other artists of the period, including his predecessors and contemporaries across Europe. Chapters Three to Five are categorised thematically, each examining an element of Rembrandt's metals, namely jewellery and dress, armour and weaponry, and domestic items, respectively. Combining prior technical research and my own visual analysis of Rembrandt's metals, I assert the importance of these carefully constructed objects which highlight Rembrandt's virtuosity. There is no scholarly discussion dedicated to Rembrandt's metals or painted metals in general. Consequently, this thesis will advance current scholarship on Rembrandt, revealing new insights into the artist's treatment of metals, painting technique and pictorial considerations, as well as the ambitious and continuous promotion of his virtuosity throughout his oeuvre. en
dc.publisher ResearchSpace@Auckland en
dc.relation.ispartof Masters Thesis - University of Auckland en
dc.relation.isreferencedby UoA99265184012502091 en
dc.rights Items in ResearchSpace are protected by copyright, with all rights reserved, unless otherwise indicated. Previously published items are made available in accordance with the copyright policy of the publisher. en
dc.rights Restricted Item. Full Text is available to authenticated members of The University of Auckland only. en
dc.rights.uri https://researchspace.auckland.ac.nz/docs/uoa-docs/rights.htm en
dc.title Painting Virtuosity: Rembrandt’s Metals en
dc.type Thesis en
thesis.degree.discipline Art History en
thesis.degree.grantor The University of Auckland en
thesis.degree.level Masters en
dc.rights.holder Copyright: The author en
pubs.elements-id 785357 en
pubs.record-created-at-source-date 2019-11-07 en


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