The essay "Analysis of Rembrandt van Rijn's Paintings" analyzes two paintings, The Descent from the Cross and Philosopher in Meditation, both found in the art museum of The University of Arizona. The Descent from the Cross refers to a scene from the Gospels reports of Joseph and Nicodemus lowering Christ from the cross following his crucifixion. Artists also refer to it as The Deposition of Christ. Other names not stated in the Gospels who were included in illustrations of this art consist of St. John who is pictured supporting a dimming Mary Magdalene. The Gospels reveal an indeterminate number of women as witnessing the crucifixion. It also included the Three Marys: the Virgin Mary, Mary Salome and also Mary Magdalene who witnessed the burial. These and many other women and unidentified male assistant are shown in the painting. Even in early illustrations the facts and pretense of the work of art and the pose of Christ’s body are different. The scene was incorporated in medieval cycles of Passion or the Life of Christ, from the crucifixion to the burial of Christ. The weeping of Christ and viewing the body of Christ supported by Mary might intervene between those two. This is widespread in the people’s view, mainly in sculpture. The viewing Christ’s body being moved to his tomb, anointing of Christ and showing the body laid flat on the top of the tomb is another picture that might be thought of in the painting. This is vital in the Orthodox art, where it is revealed on the Epitaph. (Rijn 7). With the resurgence, the painting became accepted for altarpieces, partially because of the challenge of the art work and the fitness of its vertical shape. The Mannerist edition of Russo Florentine is viewed as his most significant painting, and Pontormo’s altarpiece is his most determined painting. This topic of crucifixion was painted many times by both Rembrandt and Rubens. Rembrandt also liked the paintings of Rubens (Rijn 7). Rembrandt adapted the compositional format for The Descent from the Cross from Ruben’s painting. Rembrandt though sets the theme back in time. The posture of the body Christ is also copied directly from Ruben’s work. His description of the limp and the lifeless Christ discloses a sense of brutality and sorrow which is missing in Rubens painting. Rembrandt used himself as a representation for the boy on the ladder who clings to Christ’s arm (Rijn 7). This signified his emotional connection to the painting and his religious passion. This is the only painting by Rembrandt bearing the dedication of an art dealer and modern publisher, Hedrick Van. Rembrandt’s studio at that time was situated in the publisher's house, and it was there that he met Hedrick Van’s cousin Saki. Rembrandt married Saki in 1634. The Descent from the Cross and the Pendant Christ before Pilate were both published by Cum Privileges. They were approved by the States General and are alike to the recent copyrights (Rijn 7). Philosopher in Meditation Philosopher in Me
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This essay analyzes two paintings, The Descent from the Cross and Philosopher in Meditation, both found in the art museum of The University of Arizona. Rembrandt van Rijn took responsibility of the two paintings and many others. People recognized Rijn as a magnificent and historic painter…
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