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Portret van Rembrandt
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"If you look at
Rembrandt's rough free key,
so is the freedom that you
put in this sculpture
very exciting"
Rembrandt's rough free key,
so is the freedom that you
put in this sculpture
very exciting"
"Als je Rembrandt's
grove vrije toets ziet,
zo is de vrijheid die je
in dit beeld hebt gelegd
heel spannend"
Pieter Roelofs
Hoofd Schilder- en Beeldhouwkunst Rijksmuseum, Amsterdam
grove vrije toets ziet,
zo is de vrijheid die je
in dit beeld hebt gelegd
heel spannend"
Pieter Roelofs
Hoofd Schilder- en Beeldhouwkunst Rijksmuseum, Amsterdam
If you are interested to buy this portrait of Rembrandt, please contact me
Bent u geïnteresseerd om het portret van Rembrandt aan te kopen, neem dan svp contact met me op
send me a mail: mooniq@gmail.com
or just call: +31- 65 35 57 260
Bent u geïnteresseerd om het portret van Rembrandt aan te kopen, neem dan svp contact met me op
send me a mail: mooniq@gmail.com
or just call: +31- 65 35 57 260
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Long Live Rembrandt
My portrait of Rembrandt has a prominent place at the start of the exhibition. From 8,395 entries, my work was selected for this special exhibition of unique works inspired by Rembrandt van Rijn in honor of his passing 350 years ago (1606-1669). I gave Rembrandt a profile For the occasion I decided to model his portrait and ran into an interesting challenge: what does Rembrandt actually look like from the side? In my portrait I gave Rembrandt a profile! A number of self-portraits by Rembrandt helped me to reveal information about the shapes of his face. For example the length of his nose, the folds in his chin and the curve of the forehead. From good to a brutal Rembrandt The painting Self-portrait with two circles "was my starting point for his sculpture. The longer I looked at this painting, the more I thought I could read his inner world. I see Rembrandt with a satisfied character and an inner peace. In addition to his stately appearance full of self-confidence, I always see him with a certain mischievous friendliness. I wanted to capture this character in my own way, with a powerful, free and bold touch. I worked on this bust it for quite a long time. The final portrait is version three. Despite the similarity with the painting, the first two versions were not satisfactory portraits. I found them much too well-molded and smoothly detailed, something that does not fit with what I am striving for in my work. After a long formal study, I was tired of the sculpture I was working on. Driven by what I meant, I decided to start again so that I could make a nice sculpted head in a short time with the knowledge I gained. Without fear of losing the statue, I brutally tackled the statue, which ultimately became the end result. |