The author is in complete support of the fact that the painting Potrait of an Elderly Woman in a White Bonnet is not painted by Rembrandt whereas the speaker presents exact contradiction of this view and in fact present evidence to prove that the painting is actually done by Rembrandt. In support for her view, she presented the evidence based upon the dressing sense, light-shadow relation and use of wood panel in Rembrandt paintings.
As his/her initial point, the author points out the inconsistency dressing sense of painter which could not be the Rembrandt. In opposition, the speaker diverges from this point with an argument that actually the fur collar was not in the original painting. Instead it was added 100 years after the painting was made by the Rambrandt, to show some aristrocatic look of the lady in the potrait. These points made by the speaker place sufficient cracks to cast doubt on the Author's argument since the original painting shows same attention to details that the Rembrandt will use in his every potrait.
Next, the author attempts to prove his point declares the light shadow mismatch in the potrait; nonetheless the lecture counters this position precisely proclaiming that in orginal painting the lady in potrait was wearing light coloured cloth which illuminated light to the face, so when the fur was added in the remaking of the painting, then only it damaged the light-shadow perfection of Rembrandt. Now this evidence cast suspicion on the Author's Position since the original painting was error free and masterpiece of painting light and shadow.
Before finishing his/her argument the writer states the final argument that the painting was made on wood panel glued together which Rembrandt never used. The orator again put forward contrasting information that the glued wood panel was only used when the fur collar was added to make the painting grand and huge. However, original painting was made on the single wood panel and it also resembles the wood panel used by Rembrandt to make his self potrait.
All in all, despite the significant attempt of writer to convince the audiences that the Potrait of an Elderly Women in a White Bonnet was not the making of Rembrandt, the speaker counter the argument with valid evidences.
The author is in complete support of the fact that the
painting
Potrait
of an Elderly Woman in a White Bonnet is not painted by Rembrandt whereas the speaker presents exact contradiction of this view and in fact present
evidence
to prove that the
painting
is actually done by Rembrandt. In support for her view, she presented the
evidence
based upon the dressing sense, light-shadow relation and
use
of
wood
panel
in Rembrandt paintings.
As his/her initial
point
, the author
points
out the inconsistency dressing sense of painter which could not be the Rembrandt. In opposition, the speaker diverges from this
point
with an
argument
that actually the fur collar was not in the
original
painting
.
Instead
it was
added
100 years after the
painting
was made
by the
Rambrandt
, to
show
some
aristrocatic
look of the lady in the
potrait
. These
points
made by the speaker place sufficient cracks to cast doubt on the Author's
argument
since the
original
painting
shows
same attention to
details
that the Rembrandt will
use
in his every
potrait
.
Next
, the author attempts to prove his
point
declares the
light
shadow mismatch in the
potrait
; nonetheless the lecture counters this position
precisely
proclaiming that in
orginal
painting
the lady in
potrait
was wearing
light
coloured
cloth which illuminated
light
to the face,
so
when the fur was
added
in the remaking of the
painting
, then
only
it damaged the light-shadow perfection of Rembrandt.
Now
this
evidence
cast suspicion on the Author's Position since the
original
painting
was error free and masterpiece of
painting
light
and shadow.
Before
finishing his/her
argument
the writer states the final
argument
that the
painting
was made
on
wood
panel
glued together which Rembrandt never
used
. The orator again put forward contrasting information that the glued
wood
panel
was
only
used
when the fur collar was
added
to
make
the
painting
grand and huge.
However
,
original
painting
was made
on the single
wood
panel
and it
also
resembles the
wood
panel
used
by Rembrandt to
make
his self
potrait
.
All in all, despite the significant attempt of writer to convince the audiences that the
Potrait
of an Elderly
Women
in a White Bonnet was not the making of Rembrandt, the speaker counter the
argument
with valid
evidences
.