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Rembrandt - his life, his work, and his time (1903) (14782008891)
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Identifier: rembrandthislife00mich (find matches)
Title: Rembrandt : his life, his work, and his time
Year: 1903 (1900s)
Authors: Michel, Emile, 1828-1909 Wedmore, Frederick, Sir, 1844-1921
Subjects: Rembrandt Harmenszoon van Rijn, 1606-1669
Publisher: London : Heinemann New York : Scribner
Contributing Library: University of California Libraries
Digitizing Sponsor: Internet Archive
Text Appearing Before Image:
ich are seen the tops of distant trees. His featureshave aged considerably; his forehead is covered with wrinkles ; hiseyes, melancholy, but penetrating as ever, are fixed steadilyon the model before him. This is a fine and impressive plate,though somewhat worn in the later impressions (there are tenaltogether). The earlier states, though lacking the charm ofmany other portraits of the master, express more forcibly thanany the keenness of his gaze, and the concentration he brought tobear on a task that demanded all his attention. The etchings of this period are to the full as important as thepictures. Their number, and the elaboration of some among them,explain the comparative rarity of Rembrandts paintings in certainyears, as, for instance, in 1649 and 165 i. His infinite variety both ofsubject and method attests the fertility of his imagination, and the ^ This study, which is signed, and dated 1647, figured in the exhibition organised bythe Piilchri Studio Club at the Hague in 1890.
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^Iftci- I he Reading (about /6^c)). (m. I. roRGKs coi.i.e:tion.) ETCHINGS OF THIS PERIOD 263 flexible quality of his genius. We find him passing in rapid successionfrom motive to motive of the most diverse character. He had alwaysshown a deep interest in popular life and manners, recognising thatamong the lower orders, the expression of feeling is vigorous and naturalin proportion to its lack of refinement. The little plate of 1646, theOld Beggariuonian (B. 170), leaning on a staff, her right hand extended,as if asking alms, reproduces both the figure and attitude of theold woman in the Little Spanish Gipsy (B, 120), a plate executedabout this period ; it is said, as an illustration for a Dutch play,borrowed from the Spanish stage, which was then popular inAmsterdam.^ In 1648 he returned to those types of beggars and poor personswhich had inspired so many of his early plates, and closed the seriesby a masterpiece, the Beggars at the Door of a House (B. 176), anetching in which the mos
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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