Please critique Rembrandt copy

[Neil Wallace]

Hi,

My name is Neil, I am new to the forums. I have no idea if I am heading in the right direction as its very difficult to self-evaluate the work. Any feedback appreciated.

[Nadezhda Mozhaeva]

Would it be possible to reference the name of the original please?

[Neil Wallace]

http://classicalpulse.blogspot.com/2014/09/master-painting-rembrandt-heads-part-1.html

 

Thanks Nadezhda. Looking now, there is much more variety of colour on the rembrandt face.  Mine simply as a pale yellow ochre complexion. But jeez, I guess it is Rembrandt.

[Christina Kent]

I think you captured the likeness very well, in addition to the atmosphere of the Rembrandt painting. I agree with your comment that the skin could use some more color, especially more pink hues. Additionally, you could add some of the very delicate highlights that Rembrandt has done on the face and hair. Otherwise, well done!

[Elaine Sandeen]

Well done! Maybe just a little more detail. You’re definitely heading in the right direction.

[Emmanuel Lynch]

Hi I’m new to this but I think you got a great start here. I’m not sure how closely you are following Rembrandt’s working method but it looks as if you were in the dead color phase. One thing to remember he worked a lot with glazes so adding transparent cool greys and the pink tones will go a long way as you work on the details. He also used the texture created by his brush strokes and wipe parts of the glazes to created the patchy quality in the original. Beyond that just remember most the detail and sharp brush strokes are in the strip across the eyes then gets less detailed and blur then I think you got it depending on how long you tinker with it.

[Neil Wallace]

Very Helpful and revealing info. Thanks. The poor chap looks like he’s seen a ghost in my version and agree the glazes and so forth would bring some colour into him.

[Jake]

I appreciate this is thread necromancy, but the original is one of my favourite Rembrandts.  Emmanuel gave some great advice. One of the things Rembrandt did exceptionally well was texture. The final layers were thick and almost crusty in points, so think about fat over lean, and don’t be afraid to build up layers. There are some great books like “Traditional Oil Pinting: Advanced techniques and concepts from the renaissance to the present’ by Virgil Elliot which are invaluable to understanding classical painting techniques, palletes and tricks.

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