On October 4, 1669, the world lost the surgical brush colors of Rembrandt, the greatest painter of Dutch history. Delimiting a tenuous bridge between the past and the painter, this post I write to you now is worth noting: Rembrandt lived during the “Golden Age of the Netherlands’, a historic moment of great excellence in politics, arts, trades and of course… science. Yes, as modern science says, through studies with complex semantic and mathematical methods, it’s possible to verify the necessity of new veracities delimiting the controversial and confusing border between human literature and the sharp touch of reality.
And just about this philosophical break, science, again, thrives. This time in a different way: algorithms and data files crossed an extensive bank of scanned images, ‘bringing’ Rembrandt’s technique back to a tangible reality, 400 years after his death:
JWT Amsterdam, in partnership with Microsoft, created a printing system in 3D from standard facial geometry, geometric patterns of Rembrandt’s paintings and, after more than 168.000 scanned references, the 3D printer sculpted a new paint with the same essence and hability of the most amazing Dutch painter. Science, like 400 years ago, brought back to life not just a ‘new Rembrandt paint’, but the dialog between what can be turned real through a virtual system and not only by our young/old human hands now.
The result of this advertising case is a technological transcendent miracle: probably contemporary art critics can be in doubt (an in trouble) about the consistency of a real or a simulated Rembradt original paint. Moreover, we’re facing the outbreaking of a completely new way to create masterpieces, in this particular case, of art. It’s never enough to face a real paint in front of our eyes: time kills everyone and science seems to postpone even death. Maybe, from now on, nobody will die. And reality will be part of virtuality, in that order. Time to think about our boundaries.