Related
The Repentant St Peter - Nationalmuseum - 18293
Selfportrait (Rembrandt Harmensz. van Rijn) - Nationalmuseum - 22374
The Andrians (Peter Paul Rubens) - Nationalmuseum - 17603
Rembrandt Harmensz van Rijn , 1606-1669 - Nationalmuseum - 39594
St Paul the Hermit - Nationalmuseum - 18499
Portrait of an Old Man (Rembrandt Harmensz. van Rijn) - Nationalmuseum - 17584
Peter Makeléer, 1644-1697 (Richard Sylvius) - Nationalmuseum - 97887
Worship of Venus (Peter Paul Rubens) - Nationalmuseum - 17602
St Peter - Nationalmuseum - 19619
St Peter (Rembrandt Harmensz. van Rijn) - Nationalmuseum - 18352
Summary
Saint Peter—Jesus’s disciple and the first pope in Rome—turns his grave face to look straight at us. His grim gaze seems to admonish us to think about our deeds and live a Christian life. The key is Peter’s customary symbol. In the seventeenth century, Saint Peter was an important symbol for the papacy and the Catholic Church, but he is a relatively unusual motif for Rembrandt. The directness with which the figure meets the viewer is, however, very characteristic. The chiaroscuro—where the face, hand, and key dramatically emerge from the dark—is also typical of the artist’s work. Svenska: Aposteln Petrus – Jesu lärjunge och den förste påven i Rom – vänder sig allvarsamt rakt mot oss. Hans bistra blick tycks förmana oss att betänka våra handlingar och leva kristligt. Nyckeln är Petrus stående symbol. Petrus var under 1600-talet en viktig symbol för påvedömet och den katolska kyrkan, och är ett relativt ovanligt motiv i Rembrandts produktion. Den direkthet med vilken gestalten möter betraktaren är dock mycket representativ för konstnären. Ljusdunklet – där ansikte, hand och nyckel dramatiskt träder fram ur mörkret – är också typiskt för konstnären.
By the last decades of the 16th century, the refined Mannerism style had ceased to be an effective means of religious art expression. Catholic Church fought against Protestant Reformation to re-establish its dominance in European art by infusing Renaissance aesthetics enhanced by a new exuberant extravagance and penchant for the ornate. The new style was coined Baroque and roughly coincides with the 17th century. Baroque emphasizes dramatic motion, clear, easily interpreted grandeur, sensuous richness, drama, dynamism, movement, tension, emotional exuberance, and details, and often defined as being bizarre, or uneven. The term Baroque likely derived from the Italian word barocco, used by earlier scholars to name an obstacle in schematic logic to denote a contorted idea or involuted process of thought. Another possible source is the Portuguese word barroco (Spanish barrueco), used to describe an irregular or imperfectly shaped pearl, and this usage still survives in the jeweler’s term baroque pearl. Baroque spread across Europe led by the Pope in Rome and powerful religious orders as well as Catholic monarchs to Northern Italy, France, Spain, Flanders, Portugal, Austria, southern Germany, and colonial South America.
- Wikidata:WikiProject sum of all paintings/Creator/Rembrandt
- Apostle Paul 1632 by Rembrandt, oil painting reproduction on canvas
- Apostle Paul 1632 by Rembrandt, oil painting reproduction on canvas
- Apostle Paul 1632 by Rembrandt, oil painting reproduction on canvas
- A Corpus of Rembrandt Paintings VI (Q19421273). - Wikidata
- Apostle Peter - Wikidata
- Chiaroscuro Paintings (Page #7 of 26) - Fine Art America
- Simon Peter Paintings - Fine Art America
- St. Simons Paintings - Fine Art America
- Portrait Of An Old Man In Red - comunikaribe.com