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Rembrandt, his life, his work and his time (1894) (14590978999)
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:
truggles fiercely, covered with blood, blindedand disfigured by a gaping wound. In spite of the shock produced bysuch an accumulation of horrors, we are impressed by the elements ofwild grandeur and ferocity that characterise the scene. Here themaster manifests analogies of temperament, not only with the Dutchwriters of his day, but with Shakespeare himself, who, as Dr. Bode haspointed out,2 does not shrink from the portrayal of kindred brutalitieson the stage. In King Lear, to take an analogous example, wewitness the blinding of Gloucester in all its atrocity of detail. 1 From the dimensions of this canvas, an old copy of which is in the Cassel Museum(No. 230 in the Catalogue), it seems probable that it was the Samson offered to Huygensin Rembrandts letters of January 12th and 27th, 1639, as an acknowledgment of thesecretarys services in connection with the two last pictures painted for the Stathouder. 2 Studien, p. 429. Study for the Jewish Bride (1634). Pen and Wash. ( ALBERT! NA.)
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Printed by Draeqer & Lesieur. Pari RAPE OF GANYMEDE 221 Taste was clearly not one of Rembrandts strong points, as isabundantly proved by his occasional treatment of mythological subjects.In the Rape of Ganymede he made choice of a peculiarly unfortunatetheme. It was notoriously one from which classic art, as if recognisingits difficulties, had almost wholly refrained down to the period ofthe decadence, when it had been utilised mainly as a decorative motive.Setting aside Leocharesconception, described byPliny, and further knownto us by the Vatican copy,representations of theepisode were chiefly con-fined to medals, mirrors,vases or tapestries of theAlexandrine period. Theproblem was, in fact,a sufficiently complicatedone. By dint of greatingenuity the ancientshad avoided the pitfallsprepared for them inPlinys brief description,1in adhering to whichthey had to suggest notonly the rapid flight ofthe eagle, but the care with which he refrains from injuring the stolen child, as he bea
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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