Rembrandt, his life, his work and his time (1894) (14774573801)

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:
res. Etchings made from such sketches, ordrawn from nature on the copper, become more and more numerous,attesting both his delight in the work, and the rapid progress resultingtherefrom. The first pure landscape among Rembrandts etchings, the Land-scape with a Cow, dated 1634 (B. 206), is rejected by Mr. Middleton-Wake, though duly signed with the monogram used by the master atthe period. I see no reason whatever, for my own part, to suspect theauthenticity of the plate, which, though unimportant, is closely alliedin execution to other etchings of the same date. Two undated «US 3i6 REMBRANDT t» landscapes may perhaps be assigned to about 1640 ; one, the Landscapewith a House and a large Tree by it (B. 207) is of little interest ; theother, the View of Amsterdam (B. 210), is remarkable for its deli-cate workmanship, and for the skill with which Rembrandt has ex-pressed the gradual reduction of the planes, conjuring up infinitespace on a narrow strip of paper. I am once more at a loss
Text Appearing After Image:
A WINTER SCENE. 1646 (Cassel Museum). to imagine why Mr. Middleton-Wake contests the authenticity ofthe Large Landscape with a Cottage and a Hay-barn (B. 225), whichis signed, and dated 1641, like the Large Landscape, with a Mill-sailseen above a Cottage (B. 226) with which its analogies are verymarked, not only in choice of motive, but in treatment and dimen-The methods used to indicate distance—especially to the left sions. of the first-named plate—and those employed in the foreground are 1 The forms of the R and the b in the signature, and of the 4 in the date, are verycharacteristic, and are exactly reproduced on various other plates of the period, notablythat of the Man with a Crucifix and Chain (B. 261), another work of 1641. REMBRANDTS MILL 3»7 identical with those of the undisputed plate, and a like facility andknowledge of effect in each, seem to proclaim them fruits of thesame stage of progress. The plate known as Rembrandts Mill (B.233). which is signed and dated like