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By Ian Barras Hill

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Rembrandt Harmensz van Rijn Danae, 1636 Canvas, 186 x 201 cm Leningrad, The Hermitage The Dutchman, Rembrandt, was university educated man who a absorbed the Caravaggio style of the Early Baroque. Some early paintings exploit the atmospheric use of shadowy light in scenes of scholars in cavernous cellars or studies. This painting has an overdesigned quality and looks back to Mannerism. A decade before, Rembrandt was taught by a belated Mannerist painter, Pieter Lastman. The movement of the girl, slowly turning in the bed to register gentle surprise at the entrance of the man, (recognisably Rembrandt himself) as he steals in behind the curtain, creates a powerful erotic moment, heightened by golden tones.

Their style was brittle and tended toward caricature. Liotard a woman in Turkhh 50. Jean-Etienne Portrait of c. costume, 1749 on velJum, 100 x 75 cm Amsterdam, Rijksmuseum Pastel Liotard was a celebrated pastel from Switzerland moured who became artist ena- of everything Turkish after a lengthy stay in Constantinople. His app^ng and of a lady drinking chocolate was taken up by a chocolate and cocoa company for their printed cans. There are several slightly different versions of this same painting.

44. Rembrandt Harmensz van Rijn Danae, 1636 Canvas, 186 x 201 cm Leningrad, The Hermitage The Dutchman, Rembrandt, was university educated man who a absorbed the Caravaggio style of the Early Baroque. Some early paintings exploit the atmospheric use of shadowy light in scenes of scholars in cavernous cellars or studies. This painting has an overdesigned quality and looks back to Mannerism. A decade before, Rembrandt was taught by a belated Mannerist painter, Pieter Lastman. The movement of the girl, slowly turning in the bed to register gentle surprise at the entrance of the man, (recognisably Rembrandt himself) as he steals in behind the curtain, creates a powerful erotic moment, heightened by golden tones.

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