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Rembrandt, his life, his work and his time (1894) (14754637326)
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Identifier: rembrandthislife01mich (find matches)
Title: Rembrandt, his life, his work and his time
Year: 1894 (1890s)
Authors: Michel, Emile, 1828-1909 Simmonds, Florence Wedmore, Frederick, Sir, 1844-1921
Subjects: Rembrandt Hermanszoon van Rijn, 1606-1669
Publisher: London : W. Heinemann
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University
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ssion at this period.On no occasion, as far as we know, did the master represent himselfthus, at full-length, in the conventional costume of the day, renouncingall those problems of chiaroscuro and effects of costume which hedelighted to introduce into his own portraits. Nor was he at alllikely to have made such a departure at this point of his career. Hewas rejoicing in his independence, and gladly throwing off thoserestraints to which he had unwillingly submitted when, as a new comerin Amsterdam, he had his reputation to make and his pockets to line.He was now famous ; Saskias dowry and his own earnings had madehim independent. Jealous of his liberty, he was not often persuadedto meet the demands of the public. When he posed before hismirror he gave free rein to his fancy, and had no thought beyond hisown satisfaction or instruction. This is sufficiently proved by themany studies of himself painted at this period, which we must be Portrait of Rembrandt (lôj^J, ( HKKI.1N \! ISKIM. i
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Prinled by Eudes & Chassepot Paris (France) PORTRAITS OF MEN 215 content merely to enumerate. The first is a picture in the CasselMuseum (No. 215 in the Catalogue), signed, and dated 1634. Hisshoulders are slightly drawn up towards his ears. He is wrapped in areddish mantle, and wears a curiously shaped plumed helmet ofpolished steel, which casts a transparent shadow over his ruddy face.Two bust portraits in the Wallace collection, signed, but not dated,must have been painted from about 1633 to 1635. The execution of thefirst is broad yet delicate ; the head is turned to the right ; the costumeis a velvet cape with fur-trimmed collar. In the second, a hastier andmore sketchy study, the master faces the spectator ; on his head is abrown cap, and round his neck the familiar steel gorget and a goldchain. A charming portrait of 1634, one of Rembrandts most attractiverenderings of his own personality, is in the Berlin Museum. Another,of about the same date, is in the Hague Museum. Here
By the last decades of the 16th century, the refined Mannerism style had ceased to be an effective means of religious art expression. Catholic Church fought against Protestant Reformation to re-establish its dominance in European art by infusing Renaissance aesthetics enhanced by a new exuberant extravagance and penchant for the ornate. The new style was coined Baroque and roughly coincides with the 17th century. Baroque emphasizes dramatic motion, clear, easily interpreted grandeur, sensuous richness, drama, dynamism, movement, tension, emotional exuberance, and details, and often defined as being bizarre, or uneven. The term Baroque likely derived from the Italian word barocco, used by earlier scholars to name an obstacle in schematic logic to denote a contorted idea or involuted process of thought. Another possible source is the Portuguese word barroco (Spanish barrueco), used to describe an irregular or imperfectly shaped pearl, and this usage still survives in the jeweler’s term baroque pearl. Baroque spread across Europe led by the Pope in Rome and powerful religious orders as well as Catholic monarchs to Northern Italy, France, Spain, Flanders, Portugal, Austria, southern Germany, and colonial South America.
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