Four Rembrandt paintings are exhibited together for the first time. Four Rembrandt paintings are exhibited together for the first time Linen canvas, glossy
FAVORABLE offer from the BigArtShop online store: buy a painting Allegory of the Five Senses. The taste of the artist Peter Paul Rubens on natural canvas in high resolution, decorated in a stylish baguette frame, at an ATTRACTIVE price.
Painting by Peter Paul Rubens Allegory of the five senses. Taste: description, biography of the artist, customer reviews, other works of the author. A large catalog of paintings by Peter Paul Rubens on the website of the online store BigArtShop.
The BigArtShop online store presents a large catalog of paintings by the artist Peter Paul Rubens. You can choose and buy your favorite reproductions of paintings by Peter Paul Rubens on natural canvas.
Peter Paul Rubens was born into the family of an Antwerp lawyer. As a Protestant, his father and his family fled to Germany to escape the terror. After the death of her husband, in 1587, the mother again converted to Catholicism and returned with her children to Antwerp. At the age of 11, Peter began attending a Latin school with his older brother. In the future, the mother saw her sons as the successors of their father's work. Peter's older brother, indeed, having received a law degree, a doctorate in both rights, became the secretary of Antwerp. And Peter from the age of 14 began to study painting, having an irresistible desire for this. He studied in the workshop of Otto van Veen, court painter, master of historical painting.
In 1598, Peter received the title of free artist of the Antwerp Guild of St. Luke.
In 1600 he went to Italy to hone his skills. Rubens entered the service of Duke Vincenzo Gonzas as a court painter. On behalf of the duke, a major art collector, Rubens copied paintings in Rome, Genoa, Venice, Florence. First independent work the artist had portraits that replenished the duke's gallery of "the most beautiful ladies in the world: both princesses and untitled women."
But Rubens' talent required a wider range of activities.
His talent was significantly revealed in large altar compositions created for Italian churches. Completed orders allowed the young Fleming to become one of the first painters of Rome.
In 1608, Rubens had to suddenly return to Antwerp, having received news of his mother's fatal illness. Although the successful execution of orders for churches opened up a great prospect for him in Italy, he remained in his homeland. In 1609, Rubens married the 18-year-old daughter of the scholar-lawyer Jan Brant Isabella.
By 1611, having completed an order for the hall of the Antwerp City Hall in the form of the painting "The Adoration of the Magi" and two huge triptychs - "The Hoisting of the Cross" and "Descent from the Cross", he became the leading painter of Antwerp, he was called the "god of painters".
There were so many who wanted to enter his workshop that the requests had to be rejected. Rubens knew how to teach not only the craft, but also to develop the abilities of each of his students.
Sketches from monuments ancient art, which Rubens brought from Italy, served as a source of inspiration for him more than once. Antiquity for him has always remained a school of true taste and true craftsmanship. The ability to spiritualize was also inherent in the artist; it was the essence of Rubens' aesthetics. This feature was vividly embodied in the works of the second half of the 1610s. Among them is the painting "The Union of Earth and Water", written by him in 1618.
From the beginning of the 1620s, Rubens began diplomatic activities. After the death of Archduke Albert in 1621, as a confidant of the Infanta Isabella, he carried out secret assignments for the Brussels court. The wealth of Rubens's nature also allowed him during these years to supervise the work of engravers and painters in his workshop, design books of the most diverse content for the Platen publishing house, make cardboard for tapestries, carry out projects for sculptural reliefs and various products of artistic crafts, and publish a two-volume uvrazh "The Palaces of Genoa with their plans , facades and sections"
Such a versatile activity of the artist became possible thanks to the measured lifestyle that he led:
According to one of the biographers, Rubens "extraordinarily loved his work and therefore always lived in such a way as to work easily, without harming his health." He got up at four o'clock in the morning and listened to an early mass, assuring that such a beginning of the day helped him concentrate and feel the peace of mind necessary for work. Then he sat down at the easel, always working in the presence of a reader who read aloud to him Plutarch, Titus Livius or Seneca. As contemporaries testified, at the same time Rubens could "converse at ease with those who came to visit him." So he worked "until five o'clock in the evening, then mounted his horse and went for a walk in the country or to the city fortifications, or in any other way tried to rest his mind." The rest of the day the artist spent with family and friends, "who came to dine with him." Rubens "detested excesses in wine and food, as well as in the game." He preferred an interesting conversation, reading or studying his collections to everything. With all the diversity of the artist's interests, painting still remained his main passion.
In the 1620s, Rubens worked a lot and with equal success both in the field of “cabinet” painting and on the creation of large monumental and decorative ensembles. Designed for perception in the space of large rooms, they were always conceived by the painter in unity with the architecture for which they were intended. And here the compositional skill of Rubens, his ingenuity, inexhaustibility of fantasy knew no equal.
In January 1622, Rubens went to Paris, where he signed an agreement with the French Queen Marie de Medici, mother of Louis XIII, to execute paintings for two galleries from the new Luxembourg Palace. One series was to represent, "in accordance with the wishes of Her Majesty", the "events of the glorious life and heroic deeds" of the Queen herself, while the other - "battles" and "triumphs" of her late husband Henry IV. The second series remained unrealized. And the first, consisting of twenty-four paintings, is now exhibited in a special hall of the Louvre.
In the 1620s, Rubens also experiences repeated blows of fate:
in 1623 - the loss of his daughter, and in 1626, probably from the plague epidemic that raged then in Antwerp, his wife, Isabella Brant, also died.
Diplomatic activity helps to drown out the pain. In 1627, he travels on a secret mission to Paris, and then, under the guise of a painter making a trip to study art, to Holland, where he conducts secret negotiations with the attorney of the English minister, the Duke of Buckingham. In 1628, Rubens went to Madrid to meet with the Spanish king, and in 1629 to London to complete negotiations. In 1630, the artist’s long-term efforts were finally crowned with success: peace between Spain and England was signed, that is, the naval war ended, into which Spain was drawn in 1625 by England and from which the Southern Netherlands also suffered.
In December 1630, at the age of 53, the artist enters into a second marriage, marrying the sixteen-year-old Elena Fourment, the youngest daughter of the wealthy tapestry merchant Daniel Fourmeit.
"Bacchus" is a real miracle of painting. Probably, Rubens painted it for himself, and not to order, and valued it very much: this picture remained in the artist's studio until his death. And then it was not sold, but passed to his nephew Philip Rubens, who only in 1676 sold it to the Duke of Richelieu.
The last few years, Rubens lived rather secluded, spending most of the year in the Sten estate he bought in 1635 with a real medieval castle in a picturesque area located between Malin and Antwerp. There he painted his last landscapes, observing the life of the surrounding villages, peasant holidays and festivities. But the last years of the artist were seriously overshadowed by a cruel illness, the attacks of which became stronger and more frequent and from 1638 prevented him from working for a long time. And yet the usual activity did not leave Rubens until last day life. He continued to supervise his assistants, took care of the students, and when he could no longer hold a pen in his hands, he dictated letters.
Rubens died of heart failure. According to Joachim von Sandrart, the artist “was buried in the most solemn manner. In front of the coffin they carried a golden crown on a pillow of black velvet, art lovers accompanied the body to the place of eternal rest in great grief.
The texture of the canvas, quality paints and large format printing make our reproductions of Peter Paul Rubens as good as the original. The canvas will be stretched on a special stretcher, after which the picture can be framed in a baguette of your choice.
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Choose from one of the suggested sizes. Suggested sizes are in centimeters, if you want to specify your size, then select the item "Custom size" and enter it in millimeters.
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For example, if you have chosen an image size of 30x40cm, 2 passe-partouts of 3cm. and a baguette with a profile width of 4 cm, then the full size of the picture will be equal to:
Side A= 30cm. + 12cm. (margins of two pasprat on each side 3 cm.) + 8 cm. (baguette profile width 4 cm on each side) = 50cm
Side B= 40cm. + 12cm. (margins of two pasprat on each side 3 cm.) + 8 cm. (baguette profile width 4 cm on each side) = 60cm
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Choose one of the proposed sizes in centimeters or specify your size in millimeters by selecting the appropriate item.
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To add a frame for a picture, click on the "Select Frame" button and select the baguette category in the window that opens. In the selected category, select a suitable frame for a picture by price, color, material (wood, plastic, aluminum) and profile width by clicking on the "Select" button.
The frame for the picture will be added to the design, after which other blocks will become available, such as "Glass" (if the type of material "printing on a poster" is selected), passe-partout, and so on.
You can change the baguette frame for a picture to a previously viewed one. To do this, in the right part of the block in the "Viewed" section, a list is maintained, in which frames for framing paintings in a baguette are added, viewed by you in the process of framing pictures in a baguette in the amount of the last 6.
Baguette selection
The function of the baguette frame is difficult to overestimate. 
This is the second most important detail of the design of the picture after the image itself. A properly selected frame can greatly increase the perception of the picture as a whole, just like vice versa, an illiterately selected baguette can completely ruin the whole look of the work and kill the whole artistic concept. The baguette frame should be in harmony not only with the image, but also with the passe-partout and the interior, where the picture is planned to be located in the future. This harmony is achieved not only through the selection of color combinations, but also through the width of the profile, pattern texture and shape. Ideally, when the texture of the frame echoes the main lines of the image. For example, a drawing made with thin and unidirectional strokes is ideally combined with a frame on which the texture is made in the same style. The frame also looks advantageous, the colors of which repeat the secondary or tertiary color used in the design itself. The picture looks awkward big size framed in a narrow frame.
Wooden baguette
Wood is the traditional, recognized material most commonly used in the manufacture of baguettes and frames. It is valued for being warm and natural. All significant works of art are framed in a natural, wooden baguette. The main types of wood for making baguettes are ayos, ramin and European pine.
plastic baguette
The material for the plastic baguette is expanded polystyrene (expanded polystyrene). 
At the same time, the strength of expanded polystyrene allows it to be used as a structural element capable of bearing significant loads for a long time. A significant advantage of plastic is that it does not change its properties and dimensions either during prolonged contact with water or during repeated exposure to alternating temperatures. Modern technologies allow you to make very similar copies of many models of wooden baguette. The decor of the baguette and coating films imitate analogues made of wood, but the film coating will never convey all the diversity and individuality of manual processing of a wooden frame, its warmth.
Aluminum baguette
Due to the purity, simplicity and elegance of the lines, the variety of shapes and coatings, the aluminum baguette fits images of different styles. 
Chrome finishes and wide format profiles can frame vintage reproductions, painted profiles fit most contemporary works. Modern material with many advantages
- Aesthetic Aluminum molding suits both most modern images and classic images.
- Rich color palette The color range of aluminum profiles is very diverse. The paints are kilned and are not subject to aging. At any time you can find a similar color.
- Reliability Aluminum does not degrade over time. Even high humidity does not destroy it.
Application area
The primary task of placing glass in a picture is to protect the image from external environment(dust, moisture, etc.). In addition to these tasks, anti-reflective glasses protect images and design materials from UV rays and fading. The presence of glass is necessary when making images on paper. Glass also protects embroidery, tapestries, bedding, charcoal, watercolor, etc.
When making a print on paper and the presence of a baguette frame, glass is mandatory.
Ordinary glass
Ordinary art glass for paintings has a thickness of 2mm. The use of thin glass is due to the least distortion and refraction of light, which makes it possible to achieve an accurate visual perception of the contents of the picture. Also, glass of two millimeters has a relatively small weight, which is quite important, especially when decorating large-sized works.
Anti-reflective glass
Glass protects and protects work from harmful effects environment. But with all its advantages, ordinary glass has one significant drawback: it gives strong glare. And first of all, the viewer sees his own reflection in the glass, and not the image itself.
This problem can be solved by anti-reflective glass, which provides image protection without distorting it.
The main difference between "Anti-glare" glass is an invisible anti-reflection coating, due to which it does not glare. Reflection of light is minimized, maintaining strength and richness colors Images.
The effect of anti-reflective glass is especially noticeable when used with dark images and materials.
Main characteristics:
- UV protection - 65%
- light reflection less than 1%
- light transmission - 98.5%
- glass thickness 2 mm
Thanks to its rich palette of colors and shades, the passe-partout is a tool for achieving a color balance between the image, the baguette frame and the wall on which the picture is located. Passe-partout helps to find the "air" necessary for the picture and allows you to solve decorative problems in artistic design. Also, the presence of a passe-partout solves practical problems, such as protective, archival and aesthetic.
Passe-partout functions:
- Passepartout protects artwork, it creates an air gap between the work and the glass and does not allow the image to cling to the glass, prevents paper deformation and color loss of the image. This is especially important for sensitive surfaces.
- Passepartout gives the necessary “air” to the picture, facilitates the perception of the work, helping the viewer to concentrate their attention on the image.
- A 45-degree cut of the mat draws the eye to the image, creating a line around it, and the mat itself gives the piece a finished, aesthetic look.
- The color of the passe-partout can change the perception of the picture as a whole, draw attention to certain area images, or to isolate the work so that nothing affects the original intent of the artist.
- With the help of a passe-partout, the image can be given a visual volume, the image will be perceived more clearly and realistically, the edges of the work are moved apart, volume and depth appear.
- Passepartout creates a neutral optical zone between the work and the frame. Having a rich palette of shades, the passe-partout serves as a tool for achieving a color balance between the image, the frame and the interior in which the picture is located, helps to position the decorated image in the interior, harmoniously combining it with the surrounding details.
- The passe-partout itself can be an object of art. The variety of shades, textures, combinations create huge opportunities for expressive decoration of the image. Correctly and harmoniously selected passe-partout becomes an integral part of the decorated artwork.
Adding a passe-partout
After adding a baguette frame, a passe-partout design block will appear. 
By default, one will be selected, a random passe-partout. To cancel adding a passe-partout, click on "0" opposite the heading of the "Number of passe-partout:" block. To add a passe-partout next to this heading, select the desired number. Under it, a list of mats will appear based on the selected quantity. The elements of this list contain:
- serial number of the passe-partout (from 1 to 3)
- passe-partout color
- its article
- drop-down list to select the width of the passe-partout field in centimeters (from 1 to 10)
- an arrow indicating the position of the passe-partout in the layout
- Select a row with a passe-partout by clicking on it
- In the block with samples, select the appropriate one
- Choose the width by changing it in the drop-down list of width in cm.
If more than one passe-partout is selected, go to the next row by clicking on it. and do the same. Evaluate the result of the design in the layout of the picture. Experiment with the passe-partout until you achieve an overall harmony between the passe-partout and the image and frame in the picture viewing layout.
By clicking on the inscription "Mount Details" a detailed summary will be displayed with a description of the mount you have chosen.
When adding a passe-partout to the work, the presence of glass is mandatory!
Choosing a Styling Level
Stylization as a painting will not fully replace the process of painting by an artist, but it will significantly bring the effect of perception closer to an oil painting. With the help of special equipment and software, our designers will create the effect of strokes and "airiness" oil paints. 
If you plan to order a print of an image on canvas, then the effect of stylization is especially well created with the order of processing the canvas with varnish and Art Gel, which creates additional effects of artistic brush strokes.
The cost of this service depends on the level of styling.
Level 1 means creating the effect of artistic brush strokes of objects of the foreground, without detailed drawing of small objects and the background.
Level 2 Styling includes drawing large and medium details of the image.
3 level styling under painting includes processing of all objects of the image. The level also depends on the content of the image. For example, if the image contains many small objects (landscape), then the minimum level of styling will be the second.
This service is especially relevant when ordering photo collages (insert faces) in portraits, the originals of which were painted in oil.
Making facet on a mirror
Facet is a polished, polished and beveled edge strip along the perimeter, forming a certain angle with the surface of the mirror. 
In the manufacture of a mirror with a facet, an edge of 1 to 4 cm is removed from the edge of the canvas at a certain angle. The facet gives the mirror the effect of volume and visual completeness. A mirror with a facet looks nobler and more spectacular.
The cost of making a facet on a mirror depends on the width of the facet and the size of the mirror sheet.
We offer 4 production options:
- facet width 10mm.
- facet width 20mm.
- facet width 30mm.
- facet width 40mm.
Lacquering
Coating the surface of the canvas with varnish is a protective measure. After such processing, the canvas is not exposed to the external environment. It can be wiped with a rag, cleaned with a vacuum cleaner without fear for the safety of the image. The varnish also protects the canvas from moisture, which can accumulate over time and adversely affect appearance work.
In addition to the protective properties, varnishing will give the canvas "gloss", and the colors of the image will be rich and clear.
Colleri, Luis de - Allegory of the five senses. Hermitage, St. Petersburg
"FIVE SENSES"- traditional allegory visual arts. In the mystical tradition, the five senses of a person (sight, hearing, taste, smell, touch) are indicated by a pentagram (pentagonal star) with the Latin letters "SALUS" (form the word "health"). The letters mean the initial sounds of Latin words: sensus - "taste", auditus - "hearing", libinis - "desire", visus - "vision", spiritus - "breath, fragrance".
Francken France (junior) (1581-1642). Five senses. 1620. Private collection 
In iconological collections and allegorical compositions of the XVI-XVIII centuries. the five senses of man represent figures, usually female, like muses, with appropriate attributes.
Hearing represents a figure musical instruments, sometimes - St. Cecilia, patroness musical art;
vision- a beauty with a mirror in her hands;
taste- "beautiful gardener" with a basket of fruit,
she is with a bouquet of flowers - sense of smell;
touch- holds a bird in his hand.
Laress Gerard de (1640-1711). Allegory of the five senses. 1668. Glasgow, Art Gallery and museum 
The allegory of the five senses is presented on the famous series of medieval tapestries "The Lady with the Unicorn".
The Lady with the Unicorn is a cycle of six French tapestries from the end of the 15th century, the most famous of the exhibits of the Cluny Museum in Paris. The name of the cycle is conditional and arose in the 19th century. 
Human feelings can be symbolized by animals and birds: an eagle - sight, a deer - hearing, a monkey - taste, a dog - smell, a hedgehog - touch.
Caravaggio's paintings "Young man with a lute", "Boy with a basket of fruits", "Boy bitten by a lizard" (1590s) are considered as allegories of human feelings.
The Lute Player is a painting by Caravaggio. Exists in three versions currently stored: in the Hermitage, St. Petersburg, the Metropolitan Museum of Art, New York (Wildenstein collection) and in the Badminton House estate, Gloucestershire, UK. Of these, until recently, the authorship of only the Hermitage canvas was generally recognized; now the painting in New York is considered the first author's version of the plot. The English painting is a copy from the Hermitage. The artist himself considered the "Lute Player" "the most successful fragment of painting for him."
Michelangelo de Caravaggio. Lute player, Oil on canvas. 94×119 cm Hermitage, St. Petersburg 
Michelangelo de Caravaggio. lute player, ca. 1595. Oil on canvas. 100 x 126.5 cm. Metropolitan Museum of Art, New York 
Michelangelo de Caravaggio. lute player, ca. 1596. Oil on canvas. 96×121 cm. Badminton House, Gloucestershire 
Michelangelo de Caravaggio. Boy with a basket of fruits (Young man with a basket of fruits). 1593-1594. 70 x 67 cm. Oil on canvas. Gallery Borghese 
Michelangelo de Caravaggio. A boy bitten by a lizard. Around 1593. 65.8 x 39.5 cm. Oil on canvas. Florence. Longhi collection 
Michelangelo Merisi de Caravaggio (Italian Michelangelo Merisi de Caravaggio; September 29, 1571 (15710929), Milan - July 18, 1610, Grosseto, Tuscany) - italian artist, European reformer painting XVII century, one of the greatest masters of the Baroque. One of the first to use the style of writing "chiaroscuro" - sharp opposition light and shadow.
Caravaggio. Virtual gallery
In Dutch and Flemish painting of the 17th-18th centuries. skits household genre have allegorical overtones: drunkards in a tavern (taste), smokers (smell), village singers (hearing), a peasant molesting a beauty (touch).
Theodor Rombouts (Rombouts, 1597-1637) - Flemish painter. Allegory of the five senses. Ghent, Museum of Fine Arts 
Adriaen van Ostade (1610 - 1685). A series of five peasant interiors representing the five senses.
1.
Adriaen van Ostade(Harlem, 1610-1685, ibid.), while still in the studio of his teacher Frans Hals, he met the most talented Flemish genre painter Adrian Brouwer. Obviously, this acquaintance finally confirmed the intention of the young Dutch artist become a life writer common people. His works representing scenes from peasant life(fights, taverns, card games, and others) reflect objective facts: the collapse of the peasant economy and the coarsening of morals are the consequences of many years of wars, robberies and violence perpetrated by the Spanish, and sometimes by their own troops. But the emphasized caricature of the characters and the emphasis on animal traits in the behavior and appearance of the peasant show that the artist approaches the assessment of the depicted from the standpoint of the ruling class, for which these “muzhiks” are inferior beings. Thus, both in the choice of the topic and in its interpretation, Ostade appears as the ideologist of the new master of the country, the bourgeois, who quite definitely declared his taste. Even when later the artist creates works imbued with sympathy for his heroes, the everyday hard struggle of the peasant for his existence is not reflected in his work, it is entirely devoted to the cheerful side of life, moments of rest. Further... ">
Series of Five Senses - Rumor (option)
But the greatest merit of the artist was the very fact that he established a new hero in painting - the Dutch peasant. Therefore, A. Ostade is rightly considered the founder peasant genre. To a large extent, through his efforts, this genre has taken a strong place among other types of painting and has become popular.
Peasants are also depicted in the allegorical series “Five Senses” (“Sight”, “Hearing”, “Smell” and “Taste”; the painting “Touch”, depicting the fifth sense, has not been preserved, a copy is presented).
2. (Smell)
Series of Five Senses - Smell(Smell)(option)
The Five Senses is a very common theme in the art of the 16th-17th centuries. According to the concepts of that time, the allegorical depiction of feelings was the subject of a "high genre" - historical, glorifying gods and heroes. Accordingly, feelings were depicted in ideal images, with exquisite attributes. Ostade staged them in his small paintings with the help of the same peasants. Such an interpretation of the five senses not only democratizes " high genre"allegory, but also carries a hint of a plebeian challenge to the concepts and tastes of respectable burghers.
3. Series of Five Senses-Taste
Series of Five Senses-Taste (option) State Hermitage Museum, St. Petersburg
The realistic painting of Holland could not establish itself without doing away with the conventions of feudal-aristocratic art and idealistic aesthetics. Symbolism and allegory - the basis of the art of the previous period - before finally disappearing from Dutch painting, undergo a transformation that reduces them to the level of ordinary phenomena of the everyday genre. The sharpness of the image of this series still borders on the grotesque, but the former caricature has given way to good-natured humor.
4.
Series of Five Senses - Vision (option) State Hermitage Museum, St. Petersburg
This series, whose whereabouts are currently unknown, repeated and copied several times, which indicates the obvious popularity of the motive and composition.Although numerous individual paintings from the series have survived to this day, it is extremely rare to find an entire series of five paintings at once.One of the variants of the complete series, which for a long time was owned by the New York Historical Society, sold at auction by Sotheby's in New York in 1995. At present, the complete series can be dated to around the middle of the 17th century.
5. Series of Five Senses - Touch(Pain)
The surgeon works on the human leg. Oil painting refers to Cornelis Mach. Maybe Cornelis Mahu copied Ostade? They are like artists, peers and Cornelis loved to make copies.
https://www.lempertz.com/en/catalogues/lot/1057-1/...aen-van-ostade-copy-after.html
http://vsdn.ru/museum/catalogue/exhibit12095.htm
http://vsdn.ru/museum/catalogue/category70858.htm
The Allegory of Smell, the 17th-century Dutch engraver's famous Unconscious Patient, was discovered just a year ago at an auction in New Jersey, after it was found in someone's basement and put up for auction. Small auction house estimated the picture at 500-800 dollars. Two Rembrandt experts suggested that the painting was an original work by the famous Dutch artist and raised the cost of the work to $870,000.
The painting has since been identified and officially recognized as a work. the largest representative golden age of Dutch painting - Rembrandt. The painting is currently in New York and is part of the Leiden collection collected married couple Daphne Recanati and Thomas S. Kaplan. The collection already contains two works by the artist from the series depicting hearing and touch. The three works were exhibited this May at the Getty Center in Los Angeles. Now they are joined by an allegory of vision, transmitted from the Leukenhal Museum, the Dutch city of Leiden - hometown Rembrandt.
Created from 1624 to 1625 in Leiden, a series of paintings fit perfectly into the traditions of northern European genre painting, which are characterized by a play on the double meaning of words that personify feelings.
For example, in Rembrandt's "Man Selling Glasses" (vision. - Approx. "365") an elderly couple with poor eyesight looks through a box of glasses belonging to an unreliable street vendor. The work depicts both meanings of the word vision: vision and observation.
"These early work Rembrandts are exciting because they show us the ability of a young artist and his precocity", says Anne Van Camp, curator of northern European art at the Ashmolean Museum. — “The paintings show that at the age of eighteen, Rembrandt was already a genius: he skillfully could depict the character and emotions of people, having the ability to fit the entire bright palette of feelings on the canvas with just a few strokes.”
Fifth and last picture from Rembrandt's "Senses" series "Taste" has not been found in the last 400 years. Ms. Van Camp believes the painting was lost or destroyed. At the exhibition, next to four canvases by the Dutch draftsman, there will be an empty frame, which, as the exhibition curator hopes, will encourage gallery visitors to think and imagine what a fifth painting could look like, and also, Ms Camp added, it may encourage them to look for the canvas at home. in the attic.
Text: Yana Polyaninova
