The painting called Christ Preaching by Rembrandt Harmensz van Rijn made in 1652 and is 61 ¼in tall and 8 1/8in wide. The artist, Rembrandt uses a medium called etching. The process of making an etching begins with the preparation of a metal plate. The artist paints the surface of the copper or zinc plate with a coating of either wax or varnish that will resist acid. The artist then draws easily through this ground with a pointed tool, exposing the metal with each stroke. An etching tool may be as thick as a pen, but is more often closer to a needle. Finally, the plate is immersed in nitric acid. Christ Preaching is usually compared to the other painting The Knight. Death, and the Devil by Albrecht Dürer because of the lines in Dürer’s engraving. Christ Preaching is a work of art where Jesus is the main focus of the piece because the audience Jesus’ preaching to is focusing on him. The diagonal forces are all pointing to Jesus and the light of the etching in the middle of the work where Jesus is standing makes it the main focus. Rembrandt’s uses etching values of light and dark to create a presence in the room. The values of light and dark on the etching scale in Christ Preaching, is the middle of the room is where the value of light is high and the value of dark (shadow) spreads to the corners of Christ Preaching. These values of light and dark on the etching scale can represent that Jesus is the light in the dark room or hall. Christ Preaching shows Jesus compassion and harmony because the audience of the hall or room shows a diversity of people such as old, young, rich, poor, weak, strong and the room has Jesus complete
DeShields 2 attention. The lines of the etching are pointing in the direction of the Jesus who is preaching in front of the audience.
The painting called Lamentation by Giotto di Bondone made in 1305 and is a 72in tall and 78in wide. The artist, Giotto used a medium called fresco. Fresco is a painting technique in which pigments suspended in water are applied to a damp lime-plaster surface and the pigments dry to become part of the plaster wall or surface which are sometimes called true fresco to distinguish it from
