A new study of Rembrandt’s self-portraits provides more evidence to theories that the 17th-century artist, among other Old Master painters, used optics to produce his remarkably accurate works. Researchers Francis O’Neill and Sofia Palazzo Corner recently published their paper in the Journal of Optics that explains how various setups of flat and concave mirrors, all widely available during Rembrandt’s time, may have created projections the artist could precisely trace.
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