Rembrandt, Bathsheba at her Bath

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Rembrandt, Bathsheba at her Bath발음듣기

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[piano music] We're at the Louvre and we're looking at Rembrandt's "Bathsheba".발음듣기

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It's a large canvas and it's almost square.발음듣기

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I think the nude is actually life-sized.발음듣기

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'"Bathsheba" is a story from the Old Testament.발음듣기

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King David sees her bathing from his terrace and is struck by her beauty, and summons her even though she is the wife of a general... Uriah...발음듣기

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They begin an illicit, adulterous affair that ends in tragedy with Uriah being sent by David into battle to certain death and David and Bathsheba have a stillborn child.발음듣기

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She's ultimately an outcast.발음듣기

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I think we see that this is the first step in a terrible tragedy written on Bathsheba's face.발음듣기

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This is a really interesting painting in that you have Rembrandt lavishing tremendous attention to the beauty of her body, but at the same time this is really a painting that's about psychology.발음듣기

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It's about this moment of contemplation as she readies herself and there's a degree of sadness and perhaps some interest in the illicit as well.발음듣기

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Rembrandt is often showing us people's emotion, their vulnerability, he's often showing us people in a contemplative moment and that's what we see here with Bathsheba.발음듣기

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She seems to be contemplating the future, she holds the letter in her hand, she moves her left hand back and exposes her body to us, and you're right, there's that sense of the sensuality of her body and David's desire for her implicit in our own gaze at her body, but at the same time a real consciousness of what this means for her, that she will commit a sin and that she will pay for that sin.발음듣기

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There does seem to be real foreboding and it's not simply from the dark, warm colors of this painting, but it really has to do with the tilt of her head, her gaze is downward, the lids of her eyes are low, and it has to do with the softness and, as you said, the vulnerability of the face and the relaxed muscles of the face.발음듣기

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We have that dark background that we often see in Rembrandt's work.발음듣기

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Typical of the Baroque...발음듣기

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But at the same time really warm colors - golds and yellows and reds and oranges...발음듣기

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It's almost Venetian in those colors...발음듣기

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And she's very close to us. There really is no background.발음듣기

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We get a bit of a sense of a bed in the background... the servant at the bottom washing or drying her feet... that typical Rembrandt painterliness in the white sheet at the right corner.발음듣기

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She takes up the space of the painting and her emotions take up the space of the painting, too.발음듣기

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I'm struck by the subtlety of the color and of the brushwork.발음듣기

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The brushwork is most evident in that white sheet that she has her hand on and that surrounds her and it's really playful and energetic.발음듣기

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The quality of her flesh is really beautiful also.발음듣기

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Look at those subtle whites and pinks and greens and warm tones against cool and the ways in which her skeletal structure and her flesh, the fat in her body, are all so tenderly rendered.발음듣기

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The figure of Bathsheba is modeled on Rembrandt's own female companion, Hendrikje, and I'm struck by how she's not an idealized classical nude.발음듣기

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She's a real person and that also strikes me as very Baroque and very Rembrandt - this interest in the 'real'...발음듣기

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Although there is some distance. It's somewhat Orientalized.발음듣기

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There's the distance of this being Biblical history so it's not as if she's a modern nude.발음듣기

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No, he's transformed her... He's based her on a real person.발음듣기

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And that sense of the reality of the figure is still present, I agree. [piano music]발음듣기

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