Lessons from the Artist: Rembrandt's Lighting and Drama
Understanding the use of lighting and texture which brought Rembrandts art to life
Rembrandt van Rijn remains one of the most important artists in Western art history, both because of the quiet intensity he brought to his work and his technical mastery. Born in the Netherlands in 1606, he lived during the Dutch Golden Age, a time of remarkable artistic and scientific growth.
What set Rembrandt apart was not only his skill in painting, but his ability to observe, interpret, and capture the human condition. His works, whether portraits, biblical scenes, or self-studies, show how light and form can translate into emotion. Rembrandt’s legacy offers more than just inspiration; it provides concrete lessons in technique, perception, and storytelling that we can study to strengthen our own compositions.
Light as a tool for structure and emotion
One of Rembrandt’s most defining traits was his use of chiaroscuro, the strong contrast between light and dark. Unlike many of his peers who used light to dazzle, Rembrandt used it to guide the eye and shape the composition. In The Night Watch, arguably his most famous painting, light falls strategically across key figures, drawing the viewer’s eye towards the two men at the front.
The way shadows fall across the canvas creates a sense of depth and realism, whilst adding to the drama. Rembrandt carefully studied how light struck surfaces and used that understanding to shape both mood and composition. We can apply this by using light to organise the composition, letting the less important details fall into darkness. Working in monochrome or with a limited palette, as Rembrandt often did, can help train the eye to prioritize value over color. This is important, since value is generally more fundamental to the success of a painting. We can begin by blocking in large shadow shapes first, then gradually build up the midtones and details. This structured approach strengthens the clarity and emotional coherence of our work.
Texture and layering in portraiture
Rembrandt’s portraits, especially his self-portraits, demonstrate a remarkable understanding of texture. He often built up his paintings in layers, using thick brushstrokes in the highlights and thinner glazes in the shadows. This technique, known as impasto, gave his canvases a physical presence. In Self-Portrait with Two Circles, the roughness of his skin and the weight of his gaze are felt through the paint itself.
The textures in this piece are not just decorative, they reinforce the mood and character. We can imitate this by experimenting with paint thickness (or the equivalent in our medium) to emphasize key features, such as using heavier strokes around the eyes or mouth to draw attention and emotion. It is not about perfect smoothness or photographic realism, but about letting brushwork add depth and meaning. Varying the application of texture during the process encourages a more tactile, expressive approach that brings subjects to life.
Another key element in Rembrandt’s portraiture is his use of directional lighting. The technique now called Rembrandt lighting refers to a specific setup, often used in photography, where light falls on one side of the face and a small triangle of light appears on the shadowed cheek. This effect is typically achieved with a single light source positioned above and to the side of the subject. It creates a strong sense of depth and form without flattening the face. When we use this lighting setup in our own studies, it helps to highlight bone structure, direct the viewer's attention to key details, and create a natural balance between light and shadow. This simple but effective technique adds mood and clarity without relying on overly dramatic effects.
The value of studying from life
Rembrandt spent much of his career sketching and painting from direct observation. He made countless drawings of people, animals, and daily life, building a visual memory that allowed him to give even imaginary scenes a grounded, believable quality. In The Hundred Guilder Print, for instance, the crowd scenes are complex, yet each of the postures and expressions feels authentic.
We can benefit from the same habit by drawing regularly from life, whether that means capturing people in cafés, parks, or our own home. Quick observational sketches help us simplify what we see and train our eyes to notice gesture and proportion without becoming overwhelmed by detail. With time, these studies improve not only technical skill, but also our ability to see the world with clarity and intention.
A lifetime of self-reflection
One of the most distinctive aspects of Rembrandt’s career is the series of more than 40 self-portraits he painted throughout his life. These works track not only his physical aging, but shifts in mood, confidence, and style. Early portraits show him proud and adorned; later ones, like Self-Portrait at the Age of 63, are quiet, subdued, and introspective.
For artists today, this long-term practice offers an opportunity to observe ourselves with honesty. Using a mirror or a simple photo reference, we can study how light falls across the face, how age and emotion shape our features, and how subtle shifts in expression affect mood. This is not just a technical exercise; it also builds self-awareness and helps us track our development over time, both as artists and as individuals. The goal is not simply to refine technique, but to understand how we change, how we perceive ourselves, and how that perception influences what we create. This process can be uncomfortable, liberating, or both. Yet it is often within this tension that meaningful art arises.
Learning through observation and restraint
Rembrandt’s mastery came through restraint. He used a limited palette, allowed shadows to obscure detail, and focused on how light revealed form and mood. By working in this way, we learn to see more clearly and to understand structure, value, and composition without distraction. Limiting our options during study helps sharpen our foundations, so that when we do explore a wider range of color or complexity, we can do so with purpose. Restraint is not a rule, but a method for building the clarity needed to make artistic decisions with confidence.