While Eve languishes in nude perpetuity, a matronly subject of Rembrandt's hangs nobly bedecked in all the lace produced in the17th century. As we museum visitors leaned in to inspect this gentlewoman's clothing, I marveled at the skill required just to paint the intricate ruffs and folds humans of that era were expected to wear around their necks in public.
The docent informed us that such frills were added at the end of the artist's work, and I imagined these elaborate adornments were the reason (besides the main one) so many artists turned to nudes. If I had been expected to reproduce these lacy tufts of overlapping rings, I would have quickly become the grand master of the dimpled bare arse.
I don't suggest the human body is so easily painted, what with all its shadows, folds, and challenges, but the sheer monotony of painting all that irrelevant, white neck-wear, when inches above is the greater conquest of the eyes, seems torturous.
And Rembrandt artfully captured the life in his forty-year-old subject's eyes, arresting us over all those centuries with the wealth of their expression. Though all is still left up to interpretation as the docent finds the woman "sweet" and Allie and I agree she's definitely "mean".
I was fascinated by the intricately painted hair, combed severely from our serious gentlelady's face, each hair still amazingly separate under her cap. When I mentioned this, the docent explained that the use of oils made such delicate work possible, but to me it still seems impossible. (I would rather draw a nipple any day.)
But then, I'm no artist.
I would make a much better model for an artist.
(Of course, it would have to be as a 17th century Eve, or I could not expect to get paid.)
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