“In a paper published Wednesday in the Journal of Optics, Francis O’Neill lays out a theory that Rembrandt set up flat and concave mirrors to project his subjects — including himself — onto surfaces before painting or etching them.”
“In a paper published Wednesday in the Journal of Optics, Francis O’Neill lays out a theory that Rembrandt set up flat and concave mirrors to project his subjects — including himself — onto surfaces before painting or etching them.”