The Anatomy Lecture of Dr. Nicolaes Tulp, 1632 by Rembrandt
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The effects of ageing and antiqueness impart to a painting the charm of authenticity and nobility. Thus, a reproduction of a painting would impart unique style and appearance to any interior.
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Please see some examples of art reproductions that have been made to look old in our studio.
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The Absinthe Drinker, 1901
Mater Dolorosa, c.1470/75
Mater Dolorosa, undated
The Woman Taken in Adultery, c.1527/29
Battle of Grunwald, 1878
The Anatomy Lecture of Dr. Nicolaes Tulp, 1632
Mauritshuis Royal Picture Gallery The Hague Netherlands
Original Size:169.5 x 216 cm
This painting reproduction will be completely painted by hand with oil paints on a blank linen canvas. We add additional 1.6" (4cm) of blank canvas above the offered size which will be used to stretch the canvas on a stretcher-bar.
The Time it Takes to be Created:To paint your Rembrandt Hand-Painted Art Reproduction time is needed. The painting should not be made too hastily, nor should any deadlines be pursued. For the painting to acquire high quality and precision of detail, time is necessary. It also needs time to dry in order to be completely ready for shipping. Depending on the complexity, the level of detail, and the size of the painting, we'll need 4-5 weeks to make the painting.
Should a change of deadlines become necessary, or should your order arrive at a time when we are overloaded with work, then we will notify you by e-mail concerning how much time we would need to complete your painting reproduction.
Shipping:We do not frame our oil painting reproductions. Hand-Painted Art Reproduction is an expensive product, and the risks of damaging a painting stretched on a frame during transportation are too high. The Anatomy Lecture of Dr. Nicolaes Tulp by Rembrandt is, therefore, not framed, and will be sent to you rolled up and packaged in a strong and secure postal tube.
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The paintings we create are only of museum quality. Our academically trained artists will never allow a compromise in the quality and detail of the ordered painting. TOPofART do not work, and will never allow ourselves to work with low quality studios from the Far East. We are based in Europe, and quality is our highest priority.
The Anatomy Lesson of Dr. Nicolaes Tulp is a 1632 oil painting by Rembrandt housed in the Mauritshuis museum in The Hague, the Netherlands.
Dr. Nicolaes Tulp is pictured explaining the musculature of the arm to medical professionals. The corpse is that of the criminal Aris Kindt, strangled earlier that day for armed robbery. Some of the spectators are various doctors who paid commissions to be included in the painting.
The event can be dated to 16 January 1632: the Amsterdam Guild of Surgeons, of which Tulp was official City Anatomist, permitted only one public dissection a year, and the body would have to be that of an executed criminal.
Anatomy lessons were a social event in the 17th century, taking place in lecture rooms that were actual theatres, with students, colleagues and the general public being permitted to attend on payment of an entrance fee. The spectators are appropriately dressed for a solemn social occasion. It is thought that, with the exception of the figures to the rear and left, these people were added to the picture later.
One person is missing: the Preparator, whose task it was to prepare the body for the lesson. In the 17th century an important scientist such as Dr. Tulp would not be involved in menial and bloody work like dissection, and such tasks would be left to others. It is for this reason that the picture shows no cutting instruments. Instead we see in the lower right corner an enormous open textbook on anatomy, possibly the 1543 De Humani Corporis Fabrica (Fabric of the Human Body) by Andreas Vesalius.
Medical specialists have commented on the accuracy of muscles and tendons painted by the 26 year old Rembrandt. It is not known where he obtained such knowledge; it is possible that he copied the details from an anatomical textbook. However, in 2006 Dutch researchers recreated the scene with a male cadaver, revealing several discrepancies of the exposed left forearm compared to that of a real corpse. The surgically astute will notice that the origin of the exposed forearm muscles would seem to indicate that the flexor compartment originates at the lateral epicondyle, when it is, in fact, the medial epicondyle. It is the common extensor origin that originates at the lateral epicondyle.
The face of the corpse is partially shaded, a suggestion of umbra mortis (shadow of death), a technique that Rembrandt was to use frequently. The painting is signed in the top-left hand corner Rembrandt f 1632. It is the first known instance of Rembrandt signing a painting with his forename as opposed to the initials RHL (Rembrandt Harmenszoon of Leiden), and is thus a sign of his growing artistic confidence.