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Rembrandt, his life, his work and his time (1894) (14774429551)
Summary
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
Text Appearing Before Image:
t deeper knowledge of its secrets.Hence it is that it is impossible to forget these portraits. At adistance we are conscious of their vitality. A second inspectionhas always some fresh revelation in store for us, for they neveryield up the full measure of their beauties at first sight, andsuperb as they may have seemed in retrospect, they surpass ourexpectations each time we return to them. The master, withhis unfailing love of nature, and his marvellous powers of percep-tion, could not be indifferent to the humblest of his fellow-creatures. In all he discovered a magic that kindled and inspiredhim, and throwing himself heart and soul into his beloved work,he informed the personality of his model with something of hisown genius. The success of such an artist, and his speedy popularity, may beeasily imagined. So great was the demand for his works, saysHoubraken, that amateurs were content to wait their turn to be r*i m a S Ç O ^ *sj t/r ^ ri ~1 .-o L-l *N» rjj 53 c 3 ~>2
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REMBRANDT AS A PORTRAIT-PAINTER 147 served, and, in the words of a proverb he quotes, would-be purchasershad not only to pay, but to pray for a picture. Persons ofdistinction flocked to his studio, and among his sitters at this periodwe shall find members of the richest and most fashionable circles inAmsterdam. Such, for instance, is a young man in a broad-brimmedblack hat, whose portrait, signed, and dated 1634, is now in theHermitage. He has regular features, and his rather long face,surrounded by abundant chestnut hair, stands out in frank reliefagainst a background of grayish green. A wide lace collar isturned over his black dress. The painting is discreet and sedate, butfull of energy, the warm shadows bringing out the cool carnationswith admirable effect. The sitter has an air of great distinction, andhis refined features proclaim him the son of some noble house.Vosmaers statement that the portrait represents the Dutch admiral,Philip van Dorp, seems to us improbable. The youthfu
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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