Piet Esser - bronze medal | 'The old Rembrandt' | 1988
- Description
- Piet Esser (1914-2004)
| Type of artwork | Sculpture / Object |
| Year | 1988 |
| Technique | Bronze |
| Dimensions | 7 x 7 x 1 cm (h x w x d) |
| Signed | Unsigned/Print signed |
Translated with Google Translate. Original text show .
Beautiful medal with an image of Rembrandt, by Piet Esser. Issued in 1988 by the Vereniging voor Penningkunst. The medal is in neat condition.
In the mid-fifties, Esser was asked by the municipality of Leiden to design a commemorative medal of Rembrandt. Rarely has an assignment had such a result: 600 different versions were the result over the years of the confrontation of an artist from the present with a colleague from the past. 'A monument from the history of Dutch medal art', Steyn called Esser's Rembrandt medals; 'the symbol of his artistic conscience'. The earliest models depicted the painter in trois-quart but Esser soon focused on the profile. As is known, there are many self-portraits of Rembrandt but there is no profile portrait. This did not bother Esser, it may even have been a stimulus for the artistic dialogue with the model. As mentioned, he worked on it for many years and the sculptor was generous with his designs: one often sees them with friends and students ('gift from Piet'), always different ones, but not with the Association. In the mid-eighties he made two of them available to the Association, to which he felt so closely involved. He left the choice of the many models to Steyn, Van de Vathorst and Nijland; they chose an early and a late work. The members were sent one and could order the others. The early portrait from 1958 shows the old Rembrandt, the late one from 1984 the painter in the prime of his life. In the Rembrandt from 1984 the head fills almost the entire surface. The collar lies low in the plane and the head sits close to the upper edge. The beret merges into the medal edge and reinforces the circular shape, the hair is thin and fragmented. The double chin protrudes - one thinks of the late self-portraits. The shapes from which the head in this design is constructed have a great independence, which has created a loose structure. It shows a Rembrandt turned in on himself, a man with few illusions but with great concentration. In Esser's completely unique typography the painter's initials appear as a tangible monumental sign stamped on the back. In the Rembrandt from 1958 the head is the same size but the medal shows the head of the old painter in a larger format between his beret and the narrow horizontal of the collar. A head of hair, so it seems, painted in one stroke, a bulging cheek, a venomous, sunken mouth and a piercing eye. The background is restless, especially on the left side, which contributes to the dynamics of the portrait that is somewhere between aggression and resignation. The back side bears in a deepened calligraphic network the name of the master of light and dark who, following the Italian example, used his first name as an artist name. (source VVPK)
In the mid-fifties, Esser was asked by the municipality of Leiden to design a commemorative medal of Rembrandt. Rarely has an assignment had such a result: 600 different versions were the result over the years of the confrontation of an artist from the present with a colleague from the past. 'A monument from the history of Dutch medal art', Steyn called Esser's Rembrandt medals; 'the symbol of his artistic conscience'. The earliest models depicted the painter in trois-quart but Esser soon focused on the profile. As is known, there are many self-portraits of Rembrandt but there is no profile portrait. This did not bother Esser, it may even have been a stimulus for the artistic dialogue with the model. As mentioned, he worked on it for many years and the sculptor was generous with his designs: one often sees them with friends and students ('gift from Piet'), always different ones, but not with the Association. In the mid-eighties he made two of them available to the Association, to which he felt so closely involved. He left the choice of the many models to Steyn, Van de Vathorst and Nijland; they chose an early and a late work. The members were sent one and could order the others. The early portrait from 1958 shows the old Rembrandt, the late one from 1984 the painter in the prime of his life. In the Rembrandt from 1984 the head fills almost the entire surface. The collar lies low in the plane and the head sits close to the upper edge. The beret merges into the medal edge and reinforces the circular shape, the hair is thin and fragmented. The double chin protrudes - one thinks of the late self-portraits. The shapes from which the head in this design is constructed have a great independence, which has created a loose structure. It shows a Rembrandt turned in on himself, a man with few illusions but with great concentration. In Esser's completely unique typography the painter's initials appear as a tangible monumental sign stamped on the back. In the Rembrandt from 1958 the head is the same size but the medal shows the head of the old painter in a larger format between his beret and the narrow horizontal of the collar. A head of hair, so it seems, painted in one stroke, a bulging cheek, a venomous, sunken mouth and a piercing eye. The background is restless, especially on the left side, which contributes to the dynamics of the portrait that is somewhere between aggression and resignation. The back side bears in a deepened calligraphic network the name of the master of light and dark who, following the Italian example, used his first name as an artist name. (source VVPK)
| Condition | |||||||||||
| Condition | Very good | ||||||||||
| Shipment | |||||||||||
| Pick up | The work can be picked up on location. As a buyer you must bring your own packaging materials. The location is: Woudrichem, The Netherlands | ||||||||||
| Shipment | Parcel post | ||||||||||
| Price | Up to 10 kg.
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| Guarantee | |||||||||||
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Dutch