This article is taken from the
Figaro Hors-Série
“Vermeer, painting silence”.
Find in this issue
a special file on the painter of the Dutch Golden Age on the occasion of the largest retrospective ever organized on Vermeer, at the Rijksmuseum in Amsterdam.
Cover of “Vermeer, painting silence” Le Figaro Hors-série
Is it really reasonable to confront two artists with objectives, convictions and outcomes as different as Rembrandt (1606-1669) and Vermeer (1632-1675)?
From the myth that we construct of their history, the two portraits strike by their contrast, if only by what seems to show through in their artistic aspirations.
Rembrandt painted in the flamboyant Amsterdam of the Golden Age, for a patrician class proud of its economic prosperity and a hard-won political harmony.
In
La Ronde de nuit,
he represents the refinement of the guild of arquebusiers of Amsterdam, completing his reputation among the urban elite of the city.
Read alsoVermeer, the heart at work
The dramatic use of light, the tinkling of…
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