Laughter as a Medium in Art

A value of $3,100 was set by the auction house as they saw what appeared to be a 17th century Rembrandt knockoff. Purchased for 1,500 times more than that by a British buyer, he definitely knew what he was doing. Bought from an English auction house was a self portrait done by the Dutch master depicted with his head tilted back in easygoing laughter authenticated by experts, the Rembrandt Laughing, and it was only sold four a cheap four and a half million. When you would like to get more information on photos to paintings check out this site.

According to one of the collectors who specializes in Dutch and Flemish masters it could have easily amounted to about $30 or $40 million and he was surprised that it did not make as much at the auction. There was a refusal from the art expert from Sotheby's when it came to putting a new price on the painting. When it comes to the works of Rembrandt they only come on the market every couple of years so this is such a rare opportunity.

1628 was when Rembrandt made this self portrait and during that time he was in his hometown of Leiden during his early 20s. Already he was earning his reputation as an artist, and experimenting with a mirror and his own face to capture expressions. Its presence is somewhat remarkable. It was the light as well as the laughter which were in their most natural form.

This painting was held by an English family for more than 100 years. Either it was one of Rembrandt's students or it was his imitator. Due to a number of poor photographs showing little of the painting's luminosity or depth, the auction house may have had a reason for providing a low evaluation. But in a 23 page analysis, he described why Rembrandt was almost certainly the creator of the little work, brush stroke, contour, materials and the monogram all point to the master's hand. This site teaches you about pictures to painting.

Taking note of the rare style used by the painter for only about a year or so, the winner of the auction may have suspected that the painting was a genuine Rembrandt from the monogram RHL. The monogram was short for Rembrandt Harmenszoon of Leiden. It was the signature HL that the auction house recorded in its assessment. Considering the brush stroke used by Rembrandt and how his initials were always painted onto the background these serve to be more compelling proof.

There were experts who were somewhat perplexed about the shape of the body of the laughing Rembrandt. There was a woolly blanket for clothing, the metal armor and glossy shirt appear amorphous, it lay in lumpy folds, and there was limited definition of the anatomy below. It was in this work in particular where he used a distinct contour he would later use in his other works. You could associate a certain autonomy with the contour and it has been mentioned that Rembrandt may have been trying out this particular method of painting the body.

Matching in size and type to other Rembrandt paintings is the thin copper plate on which the piece is painted. Xrays reveal a second painting underneath its content and composition also consistent with other Rembrandt works. In 1800 no one knew where the exact location of the painting was and a Flemish engraver committed a mistake and attributed the original to the Dutch painter Frans Hals after a reproductive print was made as he failed to see how the face in the picture was that of Rembrandt's. With silence afterwards the painting's location again became unknown.