Every week, we highlight an artwork that is part of the collection of The Rembrandt House Museum, or currently on view at the museum. Today, we would like to take a closer look at a work from our exhibition Glenn Brown – Rembrandt: After Life: Glenn Brown, After Life, 2009, private collection.
With smooth, thin strokes of paint, Brown playfully conjures the effect of thick impasto achieved in a painting by Eugène Delacroix. Delacroix in turn was inspired by a painting by Peter Paul Rubens from his famous Medici Cycle. There, Rubens achieved a sensual painterly suggestion of flesh.
Art critic and writer Hans den Hartog Jager wrote the following about Glenn Brown in the exhibition catalogue: “Brown takes as his starting point work by other artists. But it is always a photograph of that work. He scans it, and then he begins pushing it and pulling it in the computer (usually with the aid of Photoshop): Brown changes the original size, the cropping, the colour, the texture, the structure – sometimes he combines elements of different works or simply selects a detail. He carries on until he has an image that he likes – call it a personal, very subjective interpretation. This he paints, and the fact that he keeps the paint so ‘flat’ obviously alludes to the original source: the computer screen. In this way Brown makes classical paintings that are created by bringing together the most modern techniques, ideas and considerations. ‘I’m rather like a Dr Frankenstein,’ he once said in an interview, ‘constructing paintings out of the residue or dead parts of other artist’s work. I hope to create a sense of strangeness by bringing together examples of the way the best historic and modern-day artists have depicted their personal sense of the world. I see their worlds from multiple or schizophrenic perspectives, through all their eyes.’”
In the exhibition Glenn Brown – Rembrandt: After Life The Rembrandt House Museum presents a selection of works in different media: paintings, drawings and prints. Brown’s contrarian audacity sticks out, his unique way of inverting the effects and aims of many much-loved works in the Western canon, including Rembrandt. It is with great pride and excitement that we present the results now, in Amsterdam, in Rembrandts home and workplace. One wonders what strands of conversation could be heard in the house had the great old master and this great new master met. The exhibition Glenn Brown – Rembrandt: After Life is on view at The Rembrandt House Museum until April 23rd 2017. More information: http://www.rembrandthuis.nl/en/bezoek/tentoonstellingen/glenn-brown-rembrandt-after-life-2/