Tronie Model

Things eventually changed at a slow pace. The more a tronie traveled from the artist’s studio, the more it lost its original meaning, and the greater the chance was that the model would be given a name. This is how Portrait of an Old Man, paired with Portrait of an Old Woman were known as Rembrandt’s mother and father. The models have also appeared in the works of his student Gerrit Dou (1613-1675) and other painters of the Leidon School around 1630. As described in print next to the tronies at the museum, the relation of the two is a mystery. They had been attributed to Dou, but cleaning revealed the ambiguity of the monogram. Part of the celebrated collection of Adolfe Schloss, they were sought out in France and destined for Hitler’s museum

Composition and being able to bring an artwork to life through brushstrokes, and rendering certain types of characters, not just plain portraits of high-status individuals is what transforms a piece of art into a masterpiece. This shows that the skill of portraying is more important that the person being portrayed. That’s why relatives of the artists were appearing more often. Having a certain face didn’t matter. What mattered was the creation of the tronie itself, however, tronies did long cease to function as studies of facial features, emotions, and mixture of materials, light, and shadow. One might ask, “What is the creative touch? What does art add to the equation?” Instead, art is the equation, and the question one should ask is “What can add to that equation?” The creative touch is a mirror of sorts. That mirror reflects the effect of a creative art piece of art based on how others view it. That’s where great art outshines good. The mirror is the main part of the equation, and how we feel is possibly the result-- the way we live and be alive at the same time, and hear the unspoken words the masterpieces echo. This gives an inner value to a piece, which increases its value, not just its

We interpret that product by the way we are pervaded by the beliefs of our own social groups. There is no one-size-fits-all methodology for bringing new ideas to life. Each individual carries a unique fingerprint to imagine, create, and see through their own vision. Creativity is driven through stages, rather than a hard copy of steps to follow. Yet, there are certain steps to help build the ladder and ones that may prevent having a ladder. The deduction is one of those stages, moving the subject from itself into the relationship with its perceiver. It empathetically links the material, whether actual, expressed, or represented, to the world of the perceiver with existence and experience. In other words, the analyst contemplates what it would be like to interact with the subject, even what it would be like to be directly transported into the depicted