The Storm on the Sea of Galilee

Replica of Rembrandt’s The Storm on the Sea of Galilee from 17th century 2011, Oil on canvas, 60x80 cm

Christ and St Mary Magdalene at the Tomb

Replica of Rembrandt’s Christ and St Mary Magdalene at the Tomb from 17th century 2011, Oil on canvas, 60x70 cm

Ascension

Replica of Rembrandt’s Ascension from 17th century 2011, Oil on canvas, 60x80 cm

Mona Lisa

Replica of Leonardo’s Mona Lisa from 16th century 2007, Oil on wood, 53x77 cm

Icon Skopiotisa

Replica of the icon Skopiotisa from the 18th century, 2008, Egg tempera on wood - pastiglie technique with silver leafs, 37x49 cm

Old Man in Military Costume

Replica of Rembrandt’s Old Man in Military Costume 2003, Oil on canvas, 60x70 cm

Virgin and Child with St. Anne

Replica of Leonardo’s the Virgin and Child with St. Anne 2009, Oil on wood, 111x148 cm

Ascension

Replica of Rembrandt’s Ascension from 17th century
2011, Oil on canvas, 60x80 cm

TITLE:	Replica of Ascension from 17^th century; 2011.
ORIGINAL:	Alte Pinakothek, Munich
AUTHOR:	Rembrandt Harmenszoon van Rijn
DIMENSIONS:	60x80 cm
TECHNIQUE:	Oil on canvas
NOTE:	In the case of Rembrandt’s technique, underpainting has been done using a broad brush in a dark tones that represent Rembrandt’s distinctive impasto drift.

REPLICAS - METHODOLOGY OF CONSTRUCTION

In the case of Rembrandt’s technique, underpainting was applied with a broad brush in dark tones that represent Rembrandt’s distinctive impasto drift. It has been applied in all lighter areas of the image, while shadows were painted with less expressive strokes. Shadows on the face were painted using fast and free moves - which is a fundamental characteristic of many Rembrandt’s portraits. Short curved brush strokes that were made in various hues constitute almost sculptural masses, which form parts of the face. Flesh tones were achieved with glazed final coats of pure golden ocher and umber tints that finally formed chiaroscuro effect.

http://www.artbible.info/art/large/609.html

CHARACTERISTICS OF OIL TECHNIQUE

Oil painting is the process of painting with pigments that are bound with a medium of drying oil — especially in early modern Europe, linseed oil. Often oil such as linseed was boiled with a resin such as pine resin or even frankincense; these were called 'varnishes' and were prized for their body and gloss. Other oils occasionally used include poppy-seed oil, walnut oil, and safflower oil. These oils confer various properties to the oil paint, such as less yellowing or different drying times.

http://en.wikipedia.org/wiki/Oil_painting

ABOUT THE PAINTER

Rembrandt Harmenszoon van Rijn (July 15, 1606 – October 4, 1669) was a Dutch painter and etcher. He is generally considered one of the greatest painters and printmakers in European art history and the most important in Dutch history.[1] His contributions to art came in a period that historians call the Dutch Golden Age.

http://en.wikipedia.org/wiki/Rembrandt

Replicas

Each painting demands an individual approach in copying. The most complicated pieces often present a real challenge, especially when it comes to the indistinguishable color patterns of impressionists or extremely delicate sfumato technique. The most important thing is that the finished copy evokes exactly the same feelings as the original masterpiece. Then I have succeeded. [Continue...]

Retouching work

Retouch is limited to areas where the original form of the painting is damaged. Retouch imitates the original painters technique in the structure of a brush stroke as well as in the applied tone scale. This allows that preserved parts of the painting overcome in the visual experience of the observer. [Continue...]

Events

In November 2011. I was a participant in a very interesting restoration workshop on retouching and filling materials for paintings. This three-day workshop was held at the Museu Nacional de Soares dos Reis in Porto, Portugal. It was organized by Portuguese conservation studio 20 | 21 Conservação e Restauro. [Continue...]