Rembrandt (17th century). Nathan Admonishing David [pen, brush and bistre]. The Metropolitan Museum of Art, H. O. Havemeyer Collection. Bequest of Mrs. H. O. Havemeyer, 1929.

This is a respectably realistic and specific gesture rendering of a one-way conversation between two figures. To me, the most impressive quality of its execution is the obvious speed the master used to create it. This is a hastily-created work that is exceedingly visually effective. It seems the strongest area of concentration was the calibration of general-to-specific details to control areas of attention. |

The subject is straightforward. It is rendered with ink wash and soft-textured paper. The underlaying message seems to be described in the title: A sagely figure attempting to advise a young, politically powerful (and disinterested) leader. The pompousness of the right figure underlines his social position.

Gestural line is the primary element used to create this scene; all line qualities are adjusted, but this work relies on speed, texture and density the most. The organic character of the wash strokes gracefully merge to create recognizable shapes and gestures. Space is intuitively built through adjustments in line character, sharpness and overall calibration of detail.

This work is nearly symmetrically balanced. The pivot point of the work is the center of the right figure’s chest. The addition of subordinate elements to his right, especially his outstretched arm, is a compositional strength because of the impact it has on moving the vertical balance axis in a rightward direction.

Line crispness and speed vary from vague to sharp, slow to fast to establish the difference between background and detail. Line measure and direction are also variable. Balance is attended to and used much more than domination, from the elemental choices to the tone set by the interaction between the two figures.

Eye level is even with the left figure, emphasizing the station of the right. This composition is closed; both figures are turned and directing their attention toward each other and contrast heavily. One is simple and active, the other embellished and passive. This is a sparse work that might be improved with further vague additions to the background and figure detail. However, that would probably break the “rapid” impression of how the work was rendered. If not organically whole, this work is in the ballpark.