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step 17 The face is built up of alternating glazes and opaque overpainting. Each layer must be left to dry before the next is applied. Typically, Rembrandt would start with a thin dark wash, then gradually build up the lighter areas in thicker paints, with the final white highlights being very thick pure white paint out of the tube (or jar in his case). You can see this clearly in the hair, how the highlights have been dragged over the darker, thinner base. This is a very common technique, but was not what I did for this face as you have seen. I began with a lighter base, then added the darker glaze, then worked traditionally. It was just an extra step, again probably not necessary, but just the way it worked out in this case. Here you can also see the texture of the Gesso (white underpainting) base showing through the face of the woman. This is also another common technique of the masters, especially Rembrandt, who loved rich textures. |
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