Taking as a point of departure Israëls's admiring description of Rembrandt's painting technique, the author elucidates painting practice in the 17th c., noting that artists tended to use only a few colors at a time on their palette, and to work on paintings in limited sections, rather than working up the whole picture evenly. Representations of artists at work from the early modern period, as well as scientific analysis of paintings themselves, confirm that this is how the palette was employed.
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