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Rembrandt - his life, his work, and his time (1903) (14804913143)
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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
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vish Bride (B. 342). Rembrandt, in fact, treated Saskia as he had treated himself, andmade her his model on every possible occasion. She occupies the mostprominent place in his works of this period, and from 1636 to 1642 his 1 The courtesy of Mr. G. Upmark, Director of the Stockhohn Museum, has enabled usto reproduce some of the drawings in the estabhshment. These, as we shall show lateron, probably formed part of the collection made by the marine-painter, Van de Cappelle,which was afterwards acquired by Crozat, and finally by the Comte de Tessin, theSwedish ambassador in Paris. - With Mr. Middleton-Wake, we take the unsigned replica of this plate, catalogued byBartsch as A Study for the Great Jewish Bride (No. 341), to be the work of a pupil inRembrandts studio. The authenticity of the original has been called in question byMr. Kohler, author of a catalogue of works by Rembrandt exhibited at Bostonin 1887. But in our opinion its genuineness is fully attested by the Stockholmsketch. I
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Siipposci^ Joiirail of Sobicski (i6jj). (hermitage.) ETCHING INSPIRED BY SASKIA 163 own portrait only appears three times, two of these portraits beingetchings very freely treated. He continued to adopt the martial aspecthe had affected in so many fancy studies, and figures in a military cos-tume in the plate known as Rembrandt in a cap luith a feather, dated1638 (B. 20), as also in the Remhandt in a flat cap, probably of thesame year (B. 26). But for the very characteristic cast of his features, itwould be difficult to recognise him in this warlike gear. On the otherhand, he has given us one of his most individual renderings of himselfin the Renibrandt leaning on a stone sill (B. 21), dated 1639. Thecostume, though fanciful, is extremely simple : a velvet cloak with astraight collar, and a cap set jauntily on one side. The head, which isturned nearly full face to the spectator, has none of the commandingairs the painter sometimes assumed before his mirror. Encircledby its luxuriant h
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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