d shadow are even more closely interwoven. A permanent fluctuation from the one to the other takes place, producing a tenebrous atmosphere, full of mysterious effect. The fluctuating light the figure is expressly connected with the surrounding space achieves more, and the space itself is drawn into the representation. Rembrandt used chiaroscuro to give the atmosphere both a visual and spiritual meaning. (Rosenberg, Jakob., Seymour Slive., E. H. Ter Kuile. Dutch Art and Architecture 1600 to 1800.) Rembrandt was also greatly influenced by his teacher Pieter Lastman. The Feast of Esther, bursting with energy, and over-rich in detail and somewhat immature in its lack of control over forms in space, may be an over-ambitious attempt to combine lighting effects and the large scale of the Utrecht Caravaggesque painters with the style of Lastman. The synthesis was not a complete success. The Stoning of St. Stephen, shows how impressed he was by Lastmans forcefulness based on lively gestures and a vivid chiaroscuro. Rembrandt used the same kind of fanciful Italianate setting that his employed, and depended on similar strong contrasts of light and shade to give his work a dramatic character. Rembrandt also follows Lastman in his coloring, in giving a hard brilliance to the illuminated figures. Rembrandts immaturity is evident in the overcrowding and confused spatial relationships. However, he surpasses his teacher by achieving a greater concentration in his composition. The horsemen and figures on the left have been massed into a group by a dark shadow, which suppresses detail in almost half the painting. This focuses attention on the main action and intensifies the mood. (Rosenberg, Jakob., Seymour Slive., E. H. Ter Kuile. Dutch Art and Architecture 1600 to 1800.)In turn to the many influences on Rembrandt, there were many artists who were influenced by Rembradts works. One such artist was Govert Flinck. There is evidence that F...
