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The World
Rembrandt
1606 -1669
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LIBRARY OF AR
The World
of
Rembrandt
1606 -1669
bv Robert Wallace
and
the Editors of Time-Life Books
Time-Life Books,
New
York
BRIGHTON
FOUNDER
BOOKS
TIME-LIFE
Horn R
Lute
898-1 967
Western Culture.'
Linen
Rhctt Austell
Vice President
Chairman Rov
Janson
A B
Arnold
Holcvwcll
New York
of the
Man
series
of
the
and of three
where he
University,
at
is
also
Among
his
Slive
is
He
government
articles
at the
on
Museum
at
in
1962 Dr S live
Dutch painting
7th Cenrury
discovery of a previously
Pomona College
was
In
is
the author of
965 he made
unknown Rembrandt
and has
Fulbnght Research
Haarlem
in
He
University of Leningrad
as an Officer of the
his
Book
and
D Manlev
D McSwecney
isnfR Joan
of
is
Editor
Harvard University
Beatrice T, Dobie
The
Seymour
ft bi
He
Whipple
(.
Marnn Mann
Chief of Research
is
numerous publications
on the Renaissance
article
numerous
"The History
series
Time Life Library of Art: The World of Leonardo. The World of Van
The Consulting
H
l.arsen
t.
Jem Korn
Executive Editor
the
in
Chairman
iijiior
which he contributed an
articles as well as
writing on art
Louis Banks
Editorial Director
Vice
to
first
James R Shcplev
Group
poems His
painting,
art
now
for his
Dutch
w ork on
news headlines w
in
numerous books
the
ith
Fo Art
Harvard
Director Ctrl
On
Jaeger
the Slipcase
Rembrandt
faced himself
IIMI
I'ututr
Man
Jitnr
he
m Id of Rembrandt
mid-50s
his
is
Knd Papers
The Bend
Strmhaiicr
Diana Hirsh
Attoaate Editor
w ithout pretension
shown on page
is
in the
rustees
the
<>i
the
and Tuo
Castle
Trompenburg
Men
on Horseback, c 1650-
Estate, t
hiel
Martha
Re\rarthtr
lift
MaHood
Janus
Goolrick
Nam\
Art AuiMant
arle
tiN.il
(
iDrrotiAi prodi
Vincenza Aloisi
DoUgltS B (iraham
Quality Dirr.tot
H.,l,
ViliMnf |amrs
npy Su/f K
turn
iM
irtini
-tt
inn-
Peter
(Paris),
<
ndi
hsaheth
Young (MOSCOW
I,
Library
helped to produce
.
this
book
Stubl
1968
Ion
Published simultaneously
littles
time Im
ihran ol
ditonal
Man
Johnson (Stockholm),
1 1.1
Stichova (Prague
Sutanm
(Rome
ol
,,.
Aires
orrespondents Letje
iion
Prnduilion Editor
Norman
number 68 22121
Mornstow
New
Jersey
Contents
the
Man
Prelude to Greatness
III
Prodigal Years
61
IV
Rembrandt's Holland
89
II
V An
VI
VII
Exploration of Styles
Triumphs and
The
Last Full
Trials
Measure
Acknowledgments
105
84
3 3
159
JT-
KJM
*ft
4*
>
r/!i''
mJm
>4^Ufl
'HI flVV
\
K4
jBH
An
Autobiography
without Words
i_\lo
artist
has
left
90
a loftier or
more penetrating
Rembrandt van
In
Rijn.
per-
more than
his
produced
in literature
is
even of
the intimately
As
his
mastery of
facial expres-
in
its
actual size
self-
his face to
its
tides of skepticism
of his
own
re-
reality
of
surface si<ms. he
is
How-
flesh,
pitilessly por-
reflecting
the
this
all
fact
when
in
1630,
hn.li
he experimented with
.in
it
ar 24.
in their
lit-
he
seems to
made
actual size), in
arious expressions.
"angn
oung man."
le
Self-Portrait as a
The oil
at 2
its
actual
The bold
aspect
YoungMan. 1629
he loved to dress
as a
the accents vigorously scored into his hair with the butt
in rich
costumes and
as a cavalier in
flamboyant
Seif-Portrak
c.
but
group of Rembrandt's
at least his
can be
circumstances
from
his
set forth. In
fading. In
wife
is
Ten
bankruptcy.
his
the
640 he
at
34th year
is
oncoming
(directly below)
shows him
in
oil
own
in
the
last
of these
man's majestic
Small Sell
640
rtraitofl6S8
Self- Portrait.
Self-Portrait. Study,
c.
1650
660
Self- Portrait.!:
13
16 Mi
being
art.
still
final self-characterization,
Experts long
died. In
his
with
the
Portrait oftbePamtei in
14
his
\s
><
SKfci.
yy*^^F
16
The Legend
Man
and the
In life
Rembrandt
suffered far
him both
who mean
version of Rembrandt's
with near-miraculous
girl
life
to
named
man
be sure,
it
is
no longer the
as artist
standard
Dutch
peasants,
skill in art.
Amsterdam, married
Saskia,
revised
lished himself in
if
To
is
"The
to the lot
it
falls
estab-
who may
gave
liked,
him bv the
not have
the
Watch
a fact unfortunately-
was
would
in
and
dreadful.
Rembrandt's
postures
else,
a masterpiece
Night
traditional
in
artist,
refused to make.
"At
this point,
because
it
is
was central
Rembrandt's intense
expressed
for
it
in this
faith.
to
He
3 3
vears
him and he
self-portraits,
his
art-supplv dealer. His only comforters were his son Titus and his mistress
work produced
Hendrickje
both
of
whom
in
'Who was
even
ever,
and
in
own
our
in favor
How-
New
Museum, who
be?'
at that
York's Metropolitan
not long ago paid S2.3 million for his Aristotle Con-
marked. 'Look
at
it
Thomas Hoving
the price.
recently re-
at that chain
is
Th,he foregoing
summary
is
the view of
however,
is
it
uneducated.
most
In
who
rable. In the
Despite
property,
is
frequentlv
sumably accepted
upwards of 100
in private life
was obliged
film
is
in
shown on
television,
However, through no
million.
who
Whenever
a masterpiece of accuracy.
new
an
in
it
Michelangelo.
it.
art journal,
There
the
is,
game should
but
allow.
tact-finding.
Rem-
of
art.
number of people
fault of Laughton's.
In
artist.
value bv an enormous
at face
to
du-
is
age.
its
is
in-
And when he
respects,
alike are
easily as an alternative to
handicapped by a scarcity
most
of the artists
who
17th Century.
his letters
a specific project
from
Rembrandt
artists rarely
of his art
it
is
is
ol history
wrote
almost mute
necessar)
of his
comparatively
a rich
not
letters,
but
it
seems more
except
in
the majestic
interest: the
bones
is
addressed
little
document
all
and revealing
eloquence
no journal or
left
at
The
accounts
IS
The
first
town of
be inaccurate, but
his early vears
covers
it
and
two meager
Orlers'
work
memoir
artistic career
in length. In
him, produced a
1675, six
German
artist
some observations
accounts, plus
less
is
in
1641 as part of a
in
the autobiography of
in
entire
first-hand
knowledge
Baldinucci,
of Rembrandt.
1686 an
In
who obtained
a brief
churchman and
Italian
his
graphic
is
first
modern
verv slim by
full-dress
biography appeared
and
even
Houbraken,
(Great
Dutch
of the period,
artists
brandt's
work
as
it
comments on Rem-
contains valuable
it
it
den.
When
it
little
Rembrandt worked
set
down
the
life
facts,
Swe-
he mis-
brothers).
difficult
pieces
to dwell
and
shillings
after
in vain,
through
his
mistake."
The
his
hand
he was embarrassed
as
that
you could
from the
lift it
reject.
by the
floor
There
is
some
evidence that Rembrandt was at times irascible and whimsical. According to Houbraken,
in
a great portrait
half
completed
it,
his
aforesaid
picture.
no:
When
group
he had
[Rembrandt'sl
seen.
at the
in
19
keep the unfinished picture than obliterate the ape in order to please the
people portrayed bv him." Possibly the tale
man
is
Rembrandt was
true;
animals, and
The
the dead
monkey more
interesting than
The
stems
difficulty
who
people,
bretto.
rank.
Thev
is
be-
it
he was.
painting
without the
exceptions, the
reflective or de-
to be looked
is
beer
at.
aid of a tedious
li-
prefer to act
themselves
his lifetime;
world of
at ease in the
to be lived
life is
is
in large part
drunk and
to be
scriptive prose.
is
in
This reticence
lifetime the
prose had
in
They threw
plished prodigies.
On
independent nation.
counterpart in
During Rembrandt's
art.
off the
million,
power
But Dutch
flag.
accom-
the
its
commemoration
Rembrandt's death, have made it
spurred by the
techniques
still life.
modern
of
scholars,
in
good
possible to extract a
made
new
deal of
in the inter-
60
map above
\mstcrdam.
show
n in the
low it
\\
he had
rli.it
bold
tor
.iIm>
ngland
I his landscapes
peon
parti)
far
m indmills (pagt
among
at least
downturn in Rembrandt's
went to Sweden, nor did
time
becausesome
<>ii
Watch marked
in
England or
fortunes.
It is
now known
travel in Italy.
legends
Thus, even
scholars
locales
if
sudden, dramatic
reside for a
considerably
to
increased.
depth of Rembrandt's
relation
In
art
it is
remarkable
the
and
breadth
last,
that
he may
outside
the
isited Ital)
resembled
hed the
tin-
t\
\ i-.irs
la) jusi
t.lim
the top
map Although
Sweden and
<>n
assumed
box
\mstel
97 100) that
still
never have
life
hamlets and
dot
left his
sea of his
In
and even
a hasty
real
is
spirit.
measure of Rembrandt
glance
myth. Although he
own
them
at
commonly
reveals
is
much
is
ings
has
known
he was.
\s
been identified
man)
fact,
as
not included
Ti/lp.
2,300 of
his
works survive
The Syndics
two or
60me 600
in his
of the
portraits
his entire
artists
My<\
three
self-
the world
have thus
far
possible that
It is
identification of
still
others will
come
One
in
recent
1962. Although
it
not a great
he was only 18 or
Although there
is
19.
a possibility that
up one day
in
is
However,
occasionally found.
brandt
is
his
bills
in
No
60
of
rest etchings
stylistic
unanimous agreement.
who
Among
drawing to Rem-
active draftsman
find
announcements. Most of
attributing a
other great
works
artist
as that of a spectator or
known
is
to have repre-
model, contorting
handsomer
to appear
own
merely
face
as a
it
letters,
human
phrase that
spirit or, in a
mankind he found
ly
"Know
thyself,"
with
his self-portraits,
first
neces-
it
all
it
River.
The loweronewas
the cour-
father
moving
but
show
close-
used by the
artist'*
is
best to
Such
"aerial'' perspectives
\\
in
mills.
ere produced
life.
miles south of
men, was
lived for
in Leiden,
a miller
some
about 25
father,
Har-
had
and
from
his
there
is
his
as
no evidence
critics
rise
artist's
suggest, derived
above
it.
However,
21
ork.
When Rembrandt's
florins.
The
now. but
it is
10,000
culate
man
a weaver,
mother died
1640 she
in
an estate valued
left
known
for
wage of a
that the
7th Century
Rembrandt chose
some
Dutch
crafts-
it
at
is
some of
as a
his face
man
the inhumanity of
it
Rembrandt's birth coincided closely with that of the Dutch nation. For
generations the
Low
7 provinces of the
Belgium and Luxembourg) had been under the rule of Catholic Spain.
However
1609,
in
inces,
40
finallv
years.
achieved
Spain did
not formally recognize their independence, but in fact the Spanish were
was then
liberty.
and
The United
Provinces,
called, included
Of
these,
its
name was
fre-
quently used bv foreigners to refer to the whole countrv. to the annovance of the citizens of the other
.he new
Ihe
Iii
the
Low
.it
countr)
l.nrs
his
ilc.-t.ul
contemporary painting
from
\\
.ins directl)
depend soleh on
numbei
priceless
in
<>l
l>\
spending onl)
.1
its
institutions
and
vigilant
it
in
had
modest court
tonomous
at
in all
itself as
au-
were no longer
artists
dom
two
available.
During the
little
first
for titles
life,
and
.1
some now
original paintings
The House
potter) and
in rallving
central
safeguarding them.
been
l>v l).i\ id
Krtists
six provinces.
few florins
although the
at least
gible.
ofi.
House of Orange
The other source of patronage, the Catholic Church, was also shut
While Catholics
when
still
formed a
merged
in
More and
the
rising
came
of
tide
sizable
Protestantism,
faithful
were stripped of
Calvinism.
particularlv
were compelled
their altars
to
were sub-
worship
in pri-
artists since
the
first
time
in
history, painters
in society that
artists,
of
they
whom
still
the ordinary citizens of the country replaced the Church .\nd the aristoc
racj
2 2
.is
became
major
art
no
is
facile
who might
pay a
fair
sum
for a canvas,
in
com-
the
it
found
his sense
of
propriety offended by the notion of something so grandiose, and reminiscent of "popish" church art, as a statue.)
The extent
ket
is
to
almost beyond
belief.
when
ticular
art,
there
form of
enormous
the
sit-
As
why
to
is
talent.
nated by
in
may be drawn,
a rough parallel
If
To
be
them and
for
was
inclined to regard
in portraits
The
ment
that
in
Country
astonish-
in thatt Facullty,
some
Pictures,
life,
some att
in this
present, as
Rim-
much
manv tvmes
outer or street roome, with costly peeces, Butchers and bakers not
blacksmithes. Coblers,
and
it
it
can be believed,
was
it is
60
years, his
."
in their stalle.
In such a climate
If
will
etts.,
yea
sett Forth,
if
Still
he began painting
at
good
Mie-
artist,
who
It
is
apparently
standing
life-size
in the heart
of Rotterdam, this
amuse
in
the
7th Centurv
been due
in part to a
rarity that
of the
7th Century
Dutch
as a crafts-
it
very plain,
in
cepted their
fairly
little
loftiest
of
to this) and
asked no special deference. As a rule thev did not feel called upon, as
had the
Italians, to
and therein
lies still
ingly
rich.
An
art
Rembrandt,
sold for as
little
as
10 or 15
resound-
mav have
democratic aversion to
hero worship.
artist
Dutch Republic
later
23
mismanagement
come tavernkeepers
But other
of his affairs.
or ferrymen in order to
whose romantic
make ends
and Meindert
owed
of 6 1 7
bill
Hals
Jan Vermeer
florins, for
at
their
rich.
said
It is
alcoholic. Frans
financial problems.
a baker's
meet.
landscapes,
er
lack of
R.
.embrandt's decision to
As
early.
of their children
came
a cobbler
first
and then
Rembrandt
who
a miller,
survived to
most promising
and accord-
United Provinces
him
it
Among
parents evidently
knew
drawings there
is
book on
model
who
his
Rembrandt's
whom
his
he of-
he first absorbed from her the sense of God, man and nature that was
make him the most profoundly Christian of all Protestant artists.
The Latin School, which Rembrandt attended from his seventh to his
14th year, placed heavy emphasis on religious studies. Its curriculum, apparently unknown to earlv writers who commented on Rembrandt's igless
to
norance, also included the reading of Cicero, Terence. Virgil, Ovid, Horace. Caesar, Sallust,
The students
was
RHL. Rembrandt
tail; his historical
It
he signed
his earlv
reflect
in
Discourse on
Method while
which
living in the
in
Nor
versity, but
this point,
withdrew apparently
sometime
in
is
unknown.
Rembrandt
tar as to
first
I
lis
after only a
teacher,
formal education
be matriculated
It
was
at
art.
mentioned only
second, under
much
the Uni-
in
month or two.
Rembrandt pursue
did
for admis-
de-
in
based.
equal ot any
it
meticulous attention
to the texts
whom
as
"a painter"
he sened
a three-
like
many
other Dutch
experience.
He
of the
artists
much from
the
and painting but does not seem to have made a deep impression on
Rembrandt turned
mav
that
occur to an
appears in
many
artist
treated
it
per
se.)
sent
(Architecture
hell.
Swanenburgh he never
By
his
his
van
that
all
who was
then one
Italv,
who
painter
Adam
particularly of
Elsheimer, a
German
lived in
a bold naturalism,
terious depth
Rembrandt's early
effects. Last-
by reference
man was
what he had
learned to his
own
pupils.
Rembrandt,
who was
in
six
months, but he quickly seized the chiaroscuro device and, within a short
time, began to use
it
with a
no other
skill
artist
above.
as the
le ejuickb
effectively
employed
As
this
complex device
subordinated to
E
in
spired
his
Rembrandt
to
become
It
lively,
pnmarv objective
sometimes
theatrical gestures
a history painter
among
at a
too.
who
in-
cepted the idea, as they had since the Renaissance, that there was a hierarchical order in the genres of painting.
The
landscapes and
life,
art
still lifes
buyer
in the
art theory;
to him,
and so gave
theless
ed himself to
ally
worked
almost
portrait, so far as
at least six years
is
"minor"
that
were
little
familiar
specialties.
None-
all
his
life.
Although he eventu-
known,
until
all
life
it
in
heed to
until
he was
At 18 or 19 Rembrandt
self
up
as
left
set
him-
it
St.
also
in
motifs were
in
thcone
it.
25
the
Sources of
Inspiration
is
traced as clearly as
in
who
iaravaggio,
l>\
Rembrandt's youth.
in
the
\\
ork
ol
Adam
in
much
and setting
28).
his
le
Elsheimer, a
beholden to
also
German
iaravaggio hut
mood
plates
communicated Elsheimer's
who
usmo copper
in Italy,
living in
own
who studied
Man)
ol
Rembrandt's
earliest
known
It
l\
has
excitement
ot
painting this
far
work
at
9,
decade
Rembrandt was
brilliant
alter
able to fashion a
the
Only about
size, this
crow
by 4
tied
feet in actual
drama
oi St.
lis
own
head appears
|ust
above
"
Stuni)
_
:
1625
Adam
Hcndnck Goudt
1610
28
c.
unknown
Pietei
X
.
manner
that
Adam
Elsheimer
the Apocryphal
Book of Tobit
in
an incident
About 20 years
picture
is
by no means
later Pieter
Elsheimer,
this
in
theme
still
(above),
fish in
Lastman,
had
his
gifted printmaker
works
works
although the
a slavish imitation.
from
as exactly as possible;
top, opposite)
is
landscape
artist
was
purposes (thirdfrom
plate
top. opposite).
it
for his
own
figures of Tobias
his
Rembrandt
entirelv
left
much
changed the
Although
29
c.
1630
M,
among the
high
masters
Western painting.
onl) in
who
influence, radiating
lis
from
in
Italy,
Europe during
Among his
generations thereafter.
who died
1610. ranks
was
felt
his lifetime
not
and for
.ind
Martyrdom
\t
ording to tradition
order of
to
Matthew
of St.
its
king, but
in blax k
well
in
some
fantastic, allegorical
round the
appalled,
tooffei
in
Ethiopia by
screaming boy
their role
assistants
lothed figures
at
the
Ki mbrandt,
w ho
ne\
ei
ol
mart)
left,
is
who might
knowl
in
unclear, although
sprawlinthe
some
indifferent,
some
rdom
visited Italy
helesshadan excellent
thispaintin
it
indirect
arti
ibl)
lulK captui
the
St.
oiIh-1
as in his
s\
tenor
the)
Africa
at right.
in
Martyrdom
Delilah
also
10
v rse, in
He
Rembrandt's figure of
rgn 14 15X
.\
c.
600
/ /,
\l."j.
'banger,
162
applied to a school of
Dutch
painters
was so strong
the Utrecht
that his
Caravaggisti.
Among its
shadow and
exploited
Terbrugghen's paintings
(above,
them
left)
in their
upon
In one of
the candle
is
source
is
background
light
and used
it
reflection.
Rembrandt
He
effect
than any of his contemporaries, even in such tiny works as The Money Changer
(left),
only about
2 inches in height,
which he produced
at the
age of 2
33
R.
Rembrandt had
also
in a
moment
in
this
been
included no bloodshed.
his
High
Rembrandt seems
taste
agony
as a Philistine soldier
diagonal begins
at
which
is
to
compel
contorted
in
)ne
hair;
it
extends
and ends
the dagger-thrust.
is
Rembrandt's
intent
is
to shock,
diminished,
it
alter
glance not to return to Delilah; with the mingled terror and gloating
reflected
on her
triumphs
oi
lace,
characterization
R9
BBs
W MM
H
^^
^w H
1^^^
-.'
^ v -^ Hi rv^u.
Vv^xl
.
>"
.-
&j'
iw
Ikk^*^
SP
*
V
1
Mr
*'
'
5
77.v
Blinding of Samson.
3 J
36
II
Prelude to
Greatness
When Rembrandt
However,
20.
his
Italian
marble
at
the age of
painting.
Dutch
them
3.
What
development
artists,
but
and was
in a
still
Leiden was a
remarkable
is
in
Rembrandt
and drawing
in etching
is
the explo-
as well as in
all
of
growing.
lively place to
be
in
those years.
How
appeared to
it
home from
Rows
stood
the imposing ruin of a medieval castle; there had been a major settle-
ment
in
Leiden
countryside was
12th Century.
of the
by
"man of darkness"
this brilliantly
is
his wife
even
in well-
town was
often racked
epidemic diseases:
Anna.
cleanliness,
Tobit
its
also
by "plagues," a term
illumined
it
Tobit and
canals
The surrounding
a slate.
intellectual excitement. It
first
as a
market
whom came
number of
from noble
families.
he made from
were
subjects
life his
not wealthy
In
The
who had
who was
artist
Amsterdam under
Pieter Lastman.
From
amounted
at
power
his stvle
had absorbed
would have
fact,
and to channel
in his art
1620s
and
also studied in
In the mid-
sensational.
and
it is
may have
shared a
it
Thev probablv
arms, done bv
in his
One
fied
earlv
work
Stoning of
reads:
It
in the
had
that
his career.
indisputably Rembrandt's
is
If
it
is
is
left
One
is
bv placing the
on the
right.
And he
none-
directs the
creates the
martyrdom on an
official
it
Rembrandt's work
eye.
Henrv of
difficulty in dis-
throughout
is
Stephen.
St.
"Simeon
it
note in an inven-
Frederick
tory
tell
did not go
Orange
his
crowded
about
ol the
face,
is
about to crush
Rembrandt
lifts
lets
first
second vcr\
which
his lather
own
youthful
his skull
the viewer
with a rock.
know
It
is
how he
precisely
at
It
is
Rembrandt's
of his self-portraits.
the strong
with revulsion
the
figures,
man who
laee. staring
own
it.
them
in
earl)
an interest
in
costume
appears
may have
served as model
is
perhaps
a trifle
wardrobe of
Leiden
citizen.
le
took
unusual delight
in
home bv Dutch
"He
went
often
seafarers.
His biog-
thev struck him as bizarre and picturesque, and those, even though at
hung on the
which he
curiosities
modern arms
and so on
sabers, knives
ings,
arrows,
halberds, daggers,
During
lacked
monev
to
his
in quantitv.
it
of the factors
in his
financial ruin.
was able
plunging himself
To be sure,
tears
in
bv contemplating
B,'evond
could be
him
moved
is
as a
in a great painting.
its
backward and to
to
Homer, but
its
Money Changer
darkness.
who
right
and
left,
it.
Rembrandt appropriated
this device
town of
The
man
in relative
a school
in
among
particular
Gerrit van Honthorst. had studied the art of the great Caravaggio in
Italv
original light
and shadow
effects.
The
bv a hidden
the scene.
lamp,
influence
The concealed
another use
in his early
light in
vears
was
its
is
to exploit.
darkly silhouet-
glow on the
rest
and
later
Emmaus,
a strong one.
in
he emploved
which the
was of
that
it
could be put to
risen
in
the
first
the head of
of his painted
particular fascination to
Rembrandt;
he would return to
it
which appears
To
those
as a
who
Christ at
in
light,
think of
Rembrandt
of
their
versions of Christ at
a trick Caravag-
Caravaggisti,
that of drama.
Christ
foreground
fire
light source
Emmaus
is
as a painter of
Leiden works
monumental
may be
surprising.
can-
The
shown on page
the Self-Portrait
So
actual size.
far as
is
Esthers Feast
Rembrandt's. In the
er than
and
first
life-size
few years
after
in
its
may be
this
reproduced
is
Lievens'
Rembrandt
work
rath-
himself
set
as an
independent
artist
man had
learned from
Adam
Elsheimer
up
Rembrandt was 25 or 26
frequently, and
still
now
here
approximately 12 bv 14
is
feet,
until
paintings
life-size
as the
Civilis.
keep
his decision to
that he
felt
was not
It
later that
is
plates.
began to produce
that he
with marvelous
in Italy, painting
precision
-t^''-
9. for example,
skill
works of more
for
Whatever the
Rem-
reason.
the Bible.
Amsterdam
is
left
portraits of his
home to live
in
saw
a feu
in
months
his spirituality
He
first
turned
Reportedly
woman
l>\
decade
20,
who
Alphonso Lopez,
art dealer
it
crown
and placed
it
in
alongside paint-
in his collection
12 bv
16 inches
and Anna (page 36). The "storv" of the painting is very slight.
Anna, who supports her blind husband by doing "woman's work," has
Tohit
been given
it.
is
a gift
ultra-righteous Tobit
and accuses
wife of having
his
all
it
shame and
in
grief,
while
his
man
appears to
wife stares
at
him
yet 21
when he
artist in
al
the Nether-
them
life
as the
fantastic
costumes from
eiden or
Amsterdam were
lor
In
but alw
his view,
essentially
by the same
no
through-
\nn.i: indeed,
his collection,
model
the
different
i'n\\.
a\
seeing
common
them
people
of
sharing the
same mysteri-
ous destiny, feeling the same passion and despair. Rembrandt's biog-
40
But
was
it
among
exactly
artist if
his station."
Rembrandt perceived
Rembrandt was
whose
up
stored
in
local citizens,
now unknown,
whom
of philosophers,
spiritual riches
all
were models
saints
1631. Although
1627 to
in
of a scholar's
particularly im-
tradesmen with
tic
faces
walls
cell
as in
the
in
St.
lonelv. rapt figure occupies less than six inches in a panel onlv
about 23
and thought.
t is
among
appears to great
men
that
the major
effect.
stylistic principle
Chiaroscuro (an
work
of his
word
that
means
and shadow.
Italian
Italian
make
appear
figures
Dutch
and
three-dimensional,
later
Caravaggio
and
his
light
in fact,
appear rounded,
but because a sense of space was lacking they might have been statues
placed against a wall. Rembrandt, working in the
penumbra between
medium
a living
in
which the
figures
light
stantly fluctuating,
emphasizing voids
first
as well as solids.
later.
St.
Paul
ligious experience.
He did
He used
and shadow
were The
two or
as a
come.
human
mind and
spirit.
not master this effect during his Leiden years, but again the loom-
Originally.
by the
became
Among Rem-
in Contemplation of
light, air
itself
Money Changer
three years
Space
sides.
weaving together of
brandt's
all
late
be seen
in
works of
that time.
bv Lastman; but
olive,
with backgrounds
41
was used
his chiaroscuro. It
to transmit light
to
him
set
Dutch
in a consistently
showed
itself
He
artists.
set
effects that
can be achieved by varying textures and the weight of paint. In his SelfPortrait of 1629. the wall behind his head
on
impasto
To
vas.
is
on with
heavy
mane
to his shaggy
life
of
hair,
Jeremiah of 1630,
in places
down
to
were constantly
wipe
In
his
on
so engrossed in laving
dirty, "since
it
was
his
when working,
custom,
brushes on himself."
etching as in painting
prints enjoyed a
his death,
earlv
bv Rem-
if
artist
Among
citv.
pearls painted
good
his
work
As
late as
to prize
to
came
and throughout
in oil,
international market.
when according
inventiveness not
in
impoverished
obscurity, a Sicilian
fre-
works
he laboriously cuts
lines into
steel
bv the burin
cut
on
directly
is
its
The
excess metal
carefully scraped
from
it.
The
plate
is
inked and
one of
is
lines of a slight-
this as a
draw-
but as a challenge.
itself
fairly
readily to
anil burnishing,
and added
at will;
etcher simply re-covers his plate with a fresh coat of resin and makes
it.
states o| his
work
It
is
and sometimes
tors
The
vibrating quality;
back, however,
tin-
in a
Iv irregular,
resin.
then scratches his design through the resin with a needle and im-
resin has
Lines
is
radical.
not
several years to
uncommon
to find as
main
as four
start
variations.
or five
are minor,
to
at
the foolishness of
who
true amateurs
some of
as
light
matter one
by
Stove
both with and without the stove-key."
on
engraving or etching the image
of course reversed
Woman
for that
the
right,
is
Most printmakers
take this into consideration by reversing their designs at the point when
they transfer their preparatory drawings to their plates. Rembrandt, however, seems not to have cared much about this; his concern was with the
quality rather than the pedantic accuracy of his work. Thus some of
his etched self-portraits show him working with what seems to be his left
hand although he was in fact right-handed, and some of his signatures apthe plate, becomes
pear
it.
backward mirrorscript.
in
left
"He
and finishing
ually treating
that critics
his
own
his
all
of grad-
to his pupils.
Thus the
in-
has been buried with the inventor." Indeed, etching has al-
as a
there are
the acid bath and the time allowed for the acid to bite into the plate.
He was
van Dyck
in his rare
20,
ventures in the
Rembrandt's
was
this, too,
Rembrandt had no
art,
secret
beyond
his
matched only by
field.
earliest etchings
may be
when he
as
The
itself the
subject
design.
on
As the man
at right turns
the handles of a
paper
is
pressed
up an inked
strungon
a "clothesline''
singlehandedlv. using
.-a
in,-
lions
plmidv*
Motrin Loininconymprimclesuu
/<..
todrv Rembrandt
e/i
43
Rest on the Flight to Egypt exhibit both his inexperience and his lively
was
fluiditv of chalk or
tal,
He
As
in
permitting him to
is
almost
move
his needle
all
serves notice of
might
artist
what
his
with the
it
to come.
soon
is
his subject
R,.embrandt's
sense of humanitv
is
made
in subject
in
group of
in a
in
pose bv the
first
quality, as
though the
Gallic manner.
cripples
artist
but
not "interesting."
are
of suffering.
full
man. and
couple hobbling on
sticks,
its
print,
shown here
in
exotic dress
<>t
the foreigners
Amsterdam when he
who
lived there
frequented
I
le
produced
this
Polander,
m hen he was
v.istk
master of etching.
is
1630
of about
of studies
The
Thev arouse
Rembrandt had
be-
is
an
Little
in
shadow and
network of very
air
with a
fine lines
skill far
and trying to
come
it
and Rembrandt's
detached
in
and
The refinement of
etcher.
his
tage in a later portrait of his mother, in 1631, in which countless scurrying, hair-thin strokes are used to build
I
[owever
as in the total of
up
his
his
Leiden
cision
may be
Self-Portrait, scored
Rembrandt's muscular
same
style
which he
ear. in
broken or
double-pointed one. exposing the copper beneath the coating with vigorous slashes
of
like
those
in a
work from
brandt's
dictory.
They
was able
achieves
to accomplish
in a lifetime
more
tremendous range
in a
in
Rem-
no means contra-
o\ a
young man
\\
ho
artist
Rembrandt made
impressions from
the etchings
size
many
by
larger than 21
is
scores,
even hundreds of
The
18
many
inches;
Polander,
Little
of
are of postcard
quarters of an inch
None
Rem-
high.
impossible to determine,
is
was willing
pression of
it.
least
sum
an im-
for
Rem-
impression of a rare
may be
At
to pay that
fine
it
as
will doubtless
still
go higher.
of thin metal, the thickest being only about one twenty-fifth of an inch,
and many of them are worn or have been ruined by the reworking of
plates are
owned by
who
international lawyer,
place
them on
in Paris
a retired
Rembrandt
scholars.
1956 Mr.
The
flement.
still
making of
as
The
in his
drawing.
Earlier artists
had
itself
as a rule re-
a painting or print.
paratory studies.
in fine condition.
R
in
the
baf-
in
the
life
made them
them,
just as a writer
fleeting ideas,
wished.
of
lines.
He
seldom disposed of
Not long
after
Roger de
Piles,
noisseur.
minimum
critic
and con-
Rembrandt was
compulsive draftsman; so
many subjects engaged his mind and eye that he must have been involved
in drawing almost daily. The 1,400 surviving sketches probably represent only a fraction of his total output.
That Rembrandt
mav be
in his
seen
work:
in
women
birds, vignettes of
landscapes.
as a
and children
random
These he
listed
were
them
in
homelv domestic
for his
among
in
bound
time of
own
as a result,
scenes, animals,
carefully preserved
brandt's drawings
in
activity' in
use
when
is
Rem-
there
was
a revival of interest in
them
45
in
makes possible
brandt's style
known
Rem-
evolution of
fair
Among
dates.
summary
his
in
in style
known
this period.
as
Later,
quill
with a wash of
drawings, such
also
conjunction
in
55),
brush alone.
Dou.
is
when he was
early in 1628,
Leiden of
in
Dou became
of particular consequence.
whom
However, while
Dou was
his
master
later
went on
become
to
The
elegant stature.
if
a giant.
polished,
all
in Leiden,
Dou made
little
more
in
effort to
was so great
in fact,
effects,
was complimented on
broom no
fingernail,
when he
larger than a
he
still
had
really
him and
fraction of
It
was
to
town.
inevitable that
The
great opportunities
University was
were to be found
tan city of
its
in
a provincial
still
Rembrandt's
gens,
who
an account of them
Constantin
luygens
left
autobiography.
it
is
man
across
the centuries
statesman,
in his
of his
life in
art. a
lis
son. Christian,
scientific
corresponded
Balzac and
translated
4r,
in
tjtrcc
in
Huygens composed
his
autobiography
languages
with
the philosopher
into
Descartes.
a
in
Guez de
,\\^\
good poet
in
own
his
risjht).
mendable
interest
in
women
its
He
his
also
had to paint
art.
having
in secret.
when he observed
respectively
were already
his
worthv of
at first
note.
at
Con-
24 and 23
peers of the
word
artist
that
carried weight.
subject of
traveled in Italv
to be tireless workers;
this,
mav be
perhaps,
found some refutation of the idea that Rembrandt had only to daub
gested to
Italian paintings
was not
at the
make
art.
that thev
his
Huvgens sug-
their
said,
the finest
in
Dutch hands
as
to go; thev
of
in the case
He
significant.
Rem-
was not
then concerned with classical models; the anatomically improbable perfection of Michelangelo's figures
human bodv
as
it
actually
keep
his eves
open
it
as
is.
not as the
classicists
him.
He saw
would have
travel to
Rome
it.
the
and
in
but mere-
he walked
Rembrandt's
first
influential admirer,
de Keyser.
R..embrandt's
desire to stay
home did
He
believed.
was
much
eye
in
frantic, his
it is
its
it
hands clasped
in
there are no
*-\
paint-
Frederick
knows
impossible to obtain.
failed to turn
of so eminent a
man
as
Huvgens cannot
artist,
who
city to find
late in
Through
painting.
particularly
Silver
with an attendant.
outstanding
Shown
sits
the
with the traditionalists, that history painting was the highest form of
art.
Huvgens
is
bv Thomas
1631 or
almost immediate
47
way
the
journal
feelings
art.
his
drawings
down
in his
and
spontaneity and
his
impressions
make them
dazzling to connoisseurs.
About 1,400
brilliant.
probably
at least
attributed to
an equal
loss,
as prolific as
him
survive,
aside from
fire,
was
it
and
lost.
The
were unrelated to
his
drawings
Thus
it
is
likely that
b) the simplicity of
studying
his style
washes
All of the
and
his favorite
of a
4.S
brush and
media:
loved
all life.
and
in
warm humanity
-*-
A /T n cf-/=ki*'o
J-lv^
T^\
-L^ J-
IVAdOLv^l O
"
Cl
W 111M O
'
'fy~
*_
60
Ill
Prodigal
Years
in
swarmed along
of a dozen nations
its
common
at first
wagons and
front doors:
hammering and shouting could be heard the sound of innumerable church bells sprinkling sanctity on the sharp dealers below.
the rumbling,
The
citv
and a theater
cultural interests
its
own
interests that
it
The
preoccupation.
is
so engrossed in further-
French
visiting
mv
life
there with-
its
general plan
Manv
Some were
boats to pass.
move
a sledge over
so steep that
them; on the
level
it
of
bridges
its
to permit small-masted
required
immense
exertion to
way bv
down
and
brick,
were used
for
The
most
reservations
when he was
happiest of moods
and public
same
in a
huge
about the
popular verse:
silverpoint of Saskia
in
the
it:
is
drawn
"This
is
when
she was 2
third
day
after
after
1
mv
built
on
piles,
until
wife,
our betrothal
the
then
who
will
pay the
down:
bill?
8thjune. 1633."
trestles
was
in fact
61
the estuarial
mud
enormous weight
tures of
presented a catastrophic
Amsterdam was
rels
and
crates of
still
bill.
red, blue
ornamental signs hung from the houses to advertise the trades of the occupants; pastry-cooks used pictures of St. Nicholas, the patron saint of
children, while surgeons displayed poles painted in red,
stripes.
The
patients, the
that he would,
if
there
was prepared
set bones,
to bleed his
customer a shave.
Amsterdam were
attractive,
but Rembrandt
demand
As a voung
artist in
that appealed
search of fortune,
in
such
Soon
after
artist
what
services
he performed for
in
known, but
his paint-
ings
tices
and exported
the moderately talented artist Lambert Jacobszoon. his effects were found
to contain six copies he had
made
lems for
in tins
7th Century
itv's
"I
it)
its
northern Netherlands
tin
Antwerp, after
won independence
nun
h. ints
fled to
Amsterdam
to escape the
economic boom
the
hub ol
AWS1
urope
that
s
made Amsterdam
trade
62
in
States,
LLODAMLM IOIILS
its
which continued
.
Today, both
\msterdam owed
much
IlKOI'l
IMPOK
more than
there are
few
It
who
collectors
in fact
own
thev
some of his
first
commissioned
life
of his subjects
plished technicians as
painters
knew
in a
genuine
Rembrandt painted
was to seek
his genius
this
that
Although
portraits.
own
old copies.)
was why,
him
in
Leiden,
in
Amsterdam he
Nicolaes
Elias.
These
it:
good likeness, with proper attention to details of dress and ornament, and
small attempt to probe beneath the obvious.
financial success
la;
still
to
instead,
Thev
and hands
in full
or almost-full
ed
light.
neutral
Their
backgrounds and
vitality
faces
only
in
later
work
and
that shortcomings
at
the view-
him know
must be
Dutch
citizens to
whom
dom found
In
in his
work of the
portrait.
Dutch
The group
institution, arising
sel-
1630s.
public esteem.
let
attention
portrait
was
him
a long-established
and singularly
IIHIIKKIMl
Amsterdam
\l
rw
R >">-.
l
MOM WDIIOri
tf..i"V^ .V'M|!l^
PK
At A R
k^Vt
1
ll
'
R BS
l* 1
'
DLL
~ U_
^=H
N LATA
t-^V. l "
L*
-..
-v
__
f ljy mii
63
many
20 or more
as
painter's fee.
whom
individuals, each of
lucrative,
Dutch democratic
but the
problem
artistic
in
spirit,
at a
modern
monotonous
in
its
pho-
tographs of the members of the debating team or the fencing squad, reveals the difficulty.
In Dr. Tulp,
Rembrandt used
evidently
not
popularitvof the painting
eight
men he portraved
are
all,
The
from the
with varying
and there
corpse
is
ivory in color,
itself,
attracts the
first
eve because
it
it
contrast.
The
occupies
partially
dissected forearm, the other colors in the painting are cool and tend to-
still
by
use of
his
shadow on the
right
his
Another
achieved balance;
men
throwing
the
is
against
one without
the least
in
work askew.
commissions
At
dle.
least
produced
than
Rembrandt's
artistic difficulties
fore
double
made
portraits.
that of
to.
han-
such paintings
rule,
could
lost.
is
In an-
as
in that
and wives
not
slight.
less
Practical
popular.
conveniently
Most husband-and-wife
Dutch houses
accommodate
portraits
bur
rather
were there-
on two separate
with
tive efforts,
little
Rembrandt did
as
1634
in
his wife to
his
portraits of
how
makes
little
difference
problem was
to
skirt,
man
artist
together,
left
and gestures
as
window, door or
make
a piece ot
it
these two
furniture,
it
Dutch house
for a large
double
portrait, the
as well
lals's
her
someone who
at a fold in
Frans
in
his
though presenting
64
artist ot
a knife.
The
Wife of 163
3,
which
now one
is
Rembrandt captured
ace,
indivisible
work by
ment of drama
hand
his wife,
in
making,
is
Rembrandt
skill
far
in-
is
room
showing a
is
The
Leiden.
Pal-
of interaction that
who
clasps the
still
moment
as in the Tobit
terrupted in his
Buckingham
of the adornments of
his subjects in a
to
ele-
beautifully solved
beyond
any
that of
R.
but
He
continued
hand
it
(late in the
A Man
types
known only
with a Turban.
Many
as
An
who
Young
caught
his
Officer or
Old Jew,
not hard to
is
find.
While
living
town of Leeuwarden
province of Friesland.
Evidently
in
the
1632,
in
when she was 20 and he 26 he made his first painted portrait of her that
The young couple became engaged on June 5, 163 3, and a few days
later Rembrandt made an exquisite drawing of Saskia (page 60) in silverpoint, a medium he rarely used, and surely one of the most exacting in
;
year.
all art.
Upon
drawn with
are
no
strokes,
is
work
white vellum)
lines
possibility of correction
ruined.
is
Rembrandt made
skill
girl.
in
1634. She
brought him a large dowry and through her family connections intro-
duced him to
into his
He
life
levels of
have penetrated.
and
art
came an
when he went
to auctions, ac-
came forward
one
self-portrait (page
10),
he
pic-
he somewhat narrowed
a patrician look.
dominated European
it
so-called
indicates that he
on the
right
this
his light
its
briefly
all
in
High Baroque
in
that
direction.
Rembrandt was
High
6>
plumed
beaker of wine with one hand while he clasps his wife around the waist
own momentary
of a laughing
man had
It
Dutch
in riotous living. In
art the
image of
city, revels
well-known meaning:
absorp-
lap
it
Son of the Scriptural parable, in gav company before his downfall and
homecoming- Rembrandt was thoroughly familiar with this story and
gal
his
later
Indeed, in 1636,
it.
within a year of the Self-Portrait with Saskia, the theme of the Prodigal
Son
first
appeared
etched work.
in his
bv no means inconceivable
It is
that
to
it.
greater art
art that
if
the 1630s:
works from
it
this
decade
until the
end of
may be
it
his
life.
Manx-
The
human
is
injured wayfarer
shown being
is
lifted
from
figures, all of
them
soft-fleshed
a horse in
number of
something
is
actually a
Anthon) vanDyck
the
also
's
intimates spent
in
active,
recognized until
not passive.
it
is
his duty.
is
that
It is all
man
it
But
if
as a
is
Rembrandt's point
copy of
and making
is
saw
fit
to give
life
to ugly dogs
who
that, either.
of
it
it.
Further,
all
if
same
man cannot
Orange,
Greek
short of the
fall
life,
ideal.
the Creator
necessity of
quarrel with
even
aspects
if
Rem-
(
did not
.embrandt
find
it
Samaritan, to be simultaneously
Passion tor Prince Frederick
for
work on
Orange
him by
his
the Cross.
lenrv of
a verv
important assign
series,
an Elevation and
66
Descent
,i
of the decade,
until the
he faced a
Frederick
brandt)
end of
felt
liant career,
problem. Both
difficult
Rem-
his bril-
artist.
of this but did not choose to imitate Rubens' style. In the case of one of
He
it.
borrow
di-
both simpli-
composition and boldly moved the central action back into the
fied the
make his
the Cross,
feel
is
on
brutality. Christ, as
is
them with
a pathetically limp,
He
"artistically" rendered.
men engaged
model
as the
in their
for the
There
nothing
melancholy task;
who
one
is
that
life
stands on the
ladder holding Christ's arm. In the Elevation the artist also appears
recalled,
itan,
weighted Cross.
If
in
the center
who
struggles to
in
it is
No other
artist
involved here.
is
Rem-
is
it.
guilt for
I n connection
to
Huvgens
still
all
series
and
men
all
letters
They
are the usual letters from artist to patron, indicating gratitude and dis-
cussing
tain
one phrase of
for
more than he
Rembrandt
ac-
knowledges that he has taken a long time to complete two of the paintings,
adding that
this has
two ways
lated in
in
it
does, after
known
phrase
all,
in
who
concern the
have
very
felt
artist's intent,
and
it.
is
clogging
emotion
is
as
one
critic
frenzied
One
valid. In the
it,
the painting
is
it
Entombment,
is
action, or
baroque movement."
of Rembrandt's letters to
to
make
67
him
a gift of
Rembrandt
this offering.
from what
as well as
good reason
is
is
sent
known
anyway, and
it
of Huvgens' taste
to
it
was an admired
The Blinding, by
In
became more
"movement."
special case; in
mind
in
it
was
mrrm
made
cover
I
all
drawing
\\ .is
le
work
.is
li<>
poses on
that,
rlu-
small dais
most
1111K
,iv
mi
<>\
ol
rpow
Delilah
as
on
armor gleaming
opening of the
over-
in half-light,
but
monstrous
in
forcefully than
in a
museum
at
it
painting
Rem-
not a
It is
owner would
a private
he be forced to look
The
pain.
are altogether
apparent.
as in the face
of
If
style,
he surely did
many
then
during
so.
their own
lermitage
in
is
the
he did not
incom-
.1
brilliantly illuminated
paint
triiiL;
more
mav hangam-where
is
the
terrify-
The Blind-
case.
itself far
it
of Huvgens'
Ins
nude w
it.
any
a curtain. In
all
brandt that
conducting
One
him.
One
whelm
com-
on "emo-
falling increasingly
hair, scurries in
never
'>-..
emphasis
It is
^T^
He
favorite paintings
ing that
works. Rembrandt
his
style,
figure.
as far as
pletely
borne
most gruesome of
far the
High Baroque
carried the
fresh
memories of
Danae of 1636.
(It
is
now
in
the
of Rembrandts
in
the late
in
all
of
ot the
into a
is
IS-
19). the
symbolic of
this.
shower of golden
prophecj was
in a state
at
upper
the paint-
in
right, his
hands
fet-
rain,
found
his
a\
to
Danae and
in
time the
fulfilled.
model
is
explicit;
however
the lowliest
1
68
of permanent chastity;
weeping cupid
it
is
for
by
its
Rembrandt
In his composition
artistic strength.
substituted
the shower of golden rain a celestial light that enters from the
The
girl.
kev to the
The
Danae
is
stvle of the
the
girl's
work
High Baroque.
again
is
own
in this
and
figure
the background.
estab-
onlv dishearten other men. Moreover, his modeling, his color, his
sight
all
German
he
it
Impressionist
when
see a
made bv
it
L,uke
his
Rembrandt.
The
etchings are
realistic,
work
but
during
the
orderlv,
the
in
to express
in oil.
from
flat,
want
1640s.
the
up."
to give
his
in-
Contem-
are breathtaking.
is
tor
and
left
his
Amsterdam.
It
bears utterly
no
instead,
in
relation to
it
contains
Overwhelmed, almost
skv.
lost in the
foreground, are
their insignificance in
all
when
still lifes;
human
two
the painting,
his subject
tiny
reveal
human
Rem-
true, as
skimmed
its
turned repeatedly to Saskia as his model. His early studies of her show
voung
a very attractive
ladv.
true; she
as
time passed
life
of Cornelia
woman
be that of a
However much
art in general did
in
become
mav have
ly
in
Todav
burden, and
it
ins:
it
it
both
bidding at auctions
the house
is
660 Rembrandt
^w ing
bears. In
eminent made
preserx
roof,
still
in
it
with
felt
the Dutch
as a shrine to a
7th Centurv
Dutch
architecture.
heavy
Rembrandt museum.
It
revered
the
the
Rembrandt museum
as in
mere-
cials.
a financial
his profligate
mortgage
1640. Perhaps
I,
Saskia's illness
not
II,
works
offi-
height and there have been changes in the facade, but plainly even in
69
1639
it
Bv
artists
Among the
imposing
a very
pupils; at least
sight.
50 Dutch
foremost of the
Amsterdam decade were Govaert Flinck. Jacob Backer and Ferdinand Bol, all verv good men whose paintings still command substantial
prices. Rembrandt had so manv pupils, indeed, that according to Houbraken, he was obliged to rent a warehouse to accommodate them. They
worked in cubicles while the master wandered from one to another to
make his corrections and suggestions. Houbraken is not alwavs accurate
first
in his dates,
mav
well belong
people, especiallv
into mischief, so
if
it
there are
happened
manv
in the
bicles a
them
of
also here.
young
the others, who, in order not to be heard, in their socks, one after the other,
pened, on a
warm summer's
in
purpose.
Now
The merry
jokes and
model
easilv
hap-
it
made on
the wall
this
comedy.
About the same time there arrived Rembrandt to see what his pupils were
doing and, as was his custom, to teach one after the other; and so he came
room where the two naked ones were sitting next to one another."
It can safelv be assumed that Rembrandt was a man who was not easily
shocked; this mav be deduced merelv from the titles of some of his etchings, without the necessity of reproducing the prints in this volume
A
Man Making Water and The French Bed. The likeliest supposition is that
he was much amused bv the incident described by Houbraken. but that he
to the
still
felt,
As Houbraken goes on to
"He
say,
'Now we
naked."
are exactly as
On this he knocked
used by an
artist as a
Adam
support for
Paradise."
Having forced
Adam
and
his pupil
I've play,
|ust able,
you
his
mahlstick
are naked
treatmeni of
etchings
The
at
Adam and
arn\c naked
Adam
in
the
subject
is
ot
that
course
we
are also
padded
stick
called out.
with
stairs,
to put
on
part of their
the street."
Eve
[a
in Paradise, for
wereonly
action.
among
and Eve
his
spoiled the
watched
until
door with
at the
some
at this affair
in a
he was
profoundly serious
among
the oldest
l>\
in
Western
all
art,
his
and
70
come
failing to
predicament of mankind.
fruit
lies,
after
all,
at
than a
girl
proportioned
in a
Adam
looks on
somewhat
its
musculature.
arm not
classical
more than
It is
lower foreground
perched on
parallels that
Adam
ash to which
its
in
in his
between
Adam
fig tree
elk melancholic
random but
fall
work
Adam
is
complex
relate to a
Life,
four
Tree of
and
that. Diirer
in his subtle
and beauti-
and Eve themselves were actually developed with the aid of com-
pass, ruler
and geometry.
is
little
bv
Diirer),
in his
was not
His approach
is
They
may be
man's
fate
fear.
The
doubt and
tension between
desire, craft
them
is
and
frightening:
call
upon the
Albrecht Diirer:
71
Tbhe oroup
portrait
is
hrought
left
it
it
an enduring
as
monument
art
among
form,
The
Prideful
Burghers
members
of militia companies
officers of guilds,
and
included
Occasionally 30 or 40
in a single
were
life-size figures
work, resulting
in a
canvas as colossal
as a billboard.
The two
his
groups
in convivial
banquet
scenes;
was
but destroyed bv
all
Two
ot his
fire
struck
one
more sober
note.
convenes on guild
Amsterdam
the fourth
affairs,
falls
into step
on an
Rembrandt's
gift tor
presen ing
street.
people portrayed
l>\
lals
on business, the
member
of a group
guard depleted
tee.
(pages 82
'
Watcb
ei\ ic
the Nigbt
in
it.
,un
>,im
WiUem
Ruytenb
Banning
van
atcb). detail
iM
Thomas dc
EX
theme
in
the
was
banquet
of ticket
sales
went
lor a lavish
In a
is
Keyser. For
all
composition.
his proficiency
The picture
is
faces.
static
by the
found
than
little
de Kevser produced a
carefully bisected
in a painting
of six
affair
of deep
significance.
The effect
is
one of
wears
his hat as a
stature*
is
is
(who
given
human
Ti/lp.
good
portraiture: as
may be
seen in the
skill.
75
is
6 ?2
1
I
'
Wg&<
ns
78
life hi
ndJanVermeeras
is no precedent
>
01 for his
spontaneous brushwork.
ami
laarlem,
Frans Hals Assembly of Officers and Subalterns of the Civic Guards of St Hadrian at Haarlem. [633
:
varying
movement and
officers to
be heard as well
as seen.
79
t/?\
V,
ft
lj^
^^^
i^
B in
I'V
^y
*jn
^^r
^V
^^L
"^^^^H
^A
"
is
'
1
:
yf*
1^
^^m >^^
r
^fi
f&'Wi
^^|
4'W
^H
fa
^B
^^^J
^^^'^^1
JBTjb
TJ
j||
^fl
'.
u^
cWnjttr
.als lived
Men's
Home at Haarlem,
legend,
touch
was
work.
666.
in this late
in
He was.
in fact, still in
artist
had
lost his
art.
As
loss, in his
powerful strokes that simultaneously model form and suggest texture, while
creating lively spatial and surface accents.
in
Western
It is
a passage that
is
seldom equaled
painting.
81
criteria
and
in
who paid
militiamen
of group portraiture
hoped
for.
engulfed
which
may have
found themselves
Instead, they
in
is
a revolutionary
To their
or to the
(who paid
6 extraneous figures
to heighten
unorthodox
following pages.
,i
shown on
The scurrying
the
little girl
feathers
at
scarcely merits a
her waist
proper place
among
and yellow
colors.
vcllow
dad
urchin
of red
The mischievous
lieutenant,
seemed improper
would
also
to a lesser artist
li.it
While
there
it
remained
Ins lifetime,
one
82
had produced
that
pro
1 \
atcb)
642
-fy*
*++-
jjK:-
'%
..^S^v ^m
^-"----^
t54
m<
&&.
'^Z&g-l'-
**&&
m^-
Rembrandi made
serve his
Guild
own
purposes
in
acking so dramatic
86
.1
"prop"
.is
corpse, he
found
it
deliberations to focus
air
in
momentarily
tlu-ir
attention
of tension and
viewer. Soon,
it is
is
had no reason to
established.
in this painting,
subjects.
however,
inclination
is
While he
was
flatter
businessmen,
to esteem
all his
66
his natural
fellow men.
who will
The
result
is
acquit themselves
87
as
welL
88
IV
Rembrandt's
Holland
In
his time,
life
self,
and
to take stock of
mind. There
his
is
is
now
Leiden, and
is
of
him-
working
of
Amsterdam he
is
much
men
of authority and
enough of mun-
lives in a great
was apstag;e
becoming disenchanted.
artists.
be examined
in
to
become
alienated from
was simply
Catholic Church.
He
which
crowd while
man
in the
comments. In
similar
his
manv
critic.
Few
studies of tramps,
have
artists
failed to
peasants, cripples,
made
it
economic
privilege.
Yet there
is
Nevertheless,
Rembrandt's son
when
in
rich
Once
and
socially
vinists
1653-1654
Son Titus
it.
appears that
was sold
among the
it
friends.
where
clear
callousness of
that
his
make
New
Testament.
The
letter-strict
a Last
Judgment, and he
loving;. torg;iving
morality
God
of the
foreign to him.
He
it:
he ignored
it.
S^
As
for
and on objects of
a healthy appreciation of
He
and rare
art
its
own
Among
ers found.
or rather
it,
contemporaries,
his business-oriented
money
it.
or so foreign observ-
Dutch Republic.
Sir
The
brandt.
was not a
built in
'
"
in all,
'ML'"'
English
,000 tons.
number considerably
flags, plied
woman was
in
the wealth of
7th Century
the one
in this
the
freighters,
More
The
efficiency of the
made
it
Dutch and
difficult for
in allegories
engraving
Dutch
in
iron
Rem-
a necessity to him;
fairly
it.
X
manv
intimate companionship of a
marriages degenerated
I K
least,
In
its
published
as a
queen
in
66
Amsterdam
regally accepting
figures thai
is
Liitts
personified
from
woman
Moor M
ith
the
queen, Europe;
rolls
i
<
aim
\lriea
the kneeling
The bearded
Neptune, the
This armada
was met by about two dozen ships under Admiral Maarten Tromp. a
drive the
I,
mi<\ the
Roman god
there.
in
enemy
to
men
Tromp managed
tor war,
Maas and
Ij.
fitting
out merchant-
fleet
to 70
empire depended
their far-
combat
vessels.
With
these the
his
masthead
in
token
ernment
at
The
and
90
the
and equipment
a fleet of
many stockholders,
capital
West
some fO
Company
enabling
ships.
its
to maintain an
Cape of Good Hope and cruised the Indian Ocean, the Java Sea and the
Pacific as far north as Formosa and Japan, establishing fortified outposts
of islands and coastal enclaves.
in scores
when
long chances
men and
rival
large profits
The
risks
in
home
fabulous cargoes of
By 1650
rice,
Com-
the
pany's stock certificates were returning 500 per cent a year, and
it
was
Two
all
made
ing specially
had
and Biblical or
decorations
and
difficulty in
The Dutch
historical scenes
porcelain from
making
side of the
the
plates
Oriental
for wall
craftsmen to
almond
eyes.
One
cup to China
as
a pattern and in time received her order, fulfilled with absolute fidelity.
West
still
in
it.
India
Company
extracted fortunes in
from the coasts of Brazil and Guiana and from the Caribbean
Valuable
furs
Amsterdam, the
ware River
especially beaver
capital of a
and otter
Dutch colony
to the Connecticut
and
islands.
as far inland as
Still
Dutch
tiles
was at
subjects as a
New
New York in
coast.
The
who
to cede
would rename
it
loss of
New
it
longer
if
it
skillfully
ice-skating.
its
up
potential.
is
in
brought
1656
kets, a "great
lists
However,
as
an
artist
the
like
delicate
Mogul
powerful chiaroscuro
West
bamboo wind
made at least 20
in
them
subordinating such
also
frequcntlv
He
notablv Jan
The Dutch,
in
common in Dutch
manv artists,
drawings
made into
details to his
.here
Rembrandt's
in
Rembrandt,
made
peak
its
Rembrandt's day.
91
effect s.
Negroes a vear
florins a
30
at
Thev bought
manv
as
as
5,000
sold
God would
aid
them
When
in adversity.
would
economic
how managed
in
fire
losses thev
were
Dutch
freed.
Rembrandt made
Hague to
and
who
But
exotic.
ment of
if
Negro some-
in
The
at
the at-
he was automatically
soil
cians
several
among
sustaining. Slavery,
air to call
was
fixed, as
it
his
European hands,
their treatment at
if
two
reveals
men
dignified
Europe, the great prosperity of the upper classes did not descend to the
lower. Peasants and urban laborers endured poverty and hardship
com-
By 1640 Rembrandt's
Revolution.
tile
In a traffic that
was
little
in
different
work
in the mills; in
was
bv
scarcely pricked
officials
in
whose
"espite their
cal rebellions,
The Dutch
1646
in
it
in their
windows, "for
may
a day. In
that
Am-
fear of
saddening
conscience
was decreed
poor people
although
this practice,
sterdam, city
were
Germany
litter.
trade, children
so
strikes
foreigners noted
and
lo-
remark-
popular
iih ilu
iti
hobb)
roemcr,
Rotterdam
I
le
<>r v,
from
Jacques <
allot,
beautiful!) that
piece
rhis
li\
he
but he executed
it is
now
tin-
prized as a
ins<
ribed
.1
name and
who
want to give
an
.1
Idei
hie>
This
is
his station."
my mind
and
who
diversion, then
shops
his
spent
little at
it is
said to
is
not honor
museum
ement,
artist
was
seek, but
a frequenter of the
work so
.1
result thai
men
who
incised b)
to.duel beneai
prim
.1
.is
his motil
gnomes preparing
arboi
the upper classes, they were sturdy brawlers and drinkers, the sort of
freedom."
flax
borrowed
ine goblet,
ol
intellectuals,
taverns"
Among
lolland gin-
number
oi
of Protestant theologians.
including Jan Cornelis Sylvius, Cornelis Claesz Anslo and Jan Uytenbogaert,
too. with
whose
members
the date ol
I
659
the St
\t
Anthonicsbrccstr.i.n
this time,
intolerance
was
where
primanK
at
his
m
(
house stood.
the Netherlands
'athohes
where
religious
in
the
Iberian
Manv.
peninsula.
like
who
wide
Testament
Jews
in friendly
at least
had
Israel, a writer,
There were
sensitivity.
fled
among
of acquaintances
circle
in
level
whom
some
also
from countries
his contacts
with
on commission
rather than
men
Testament from
whom
Rembrandt
became conOld
him
make some
to
example,
is
described in the
Old Testament
quarter
VJo
little is
he had
world
frail
as
and dark-haired.
much
that not
Amsterdam
can be ven-
else
ments.
harp to
used
little
in
his
artist
fair,
David, for
as fair
ever, in
model
text.
execrable cooks,
visitors
were prodigious
man
eaters.
Houbraken, "lived but simply, often content with some bread and
cheese or a pickled herring as his whole meal." His round face suggests
that he
was
also
plump
in
body;
costume (page 10) would seem to confirm the notion. However, he mav
well have chosen to exaggerate his girth in that painting for artistic rea-
studio
the drawing
attire,
was made
is
unknown;
world.
He
was made
in winter.
in
which
Rembrandt
in layers
if it
haunches
somewhere under
start
The
his armpits."
630s was
this
Dutch nation
in
the
rich burgher,
it is
probability
is
that
Rembrandt was
in his
man.
coincide with
for
its
10 compartments, stacked
elaborate
Rembrandt's personality,
at least as
it
art,
it
in his
i*.
like
an
actually a separate
wedding cake.
As
of
first
(at
monarch
in
the world,
stock
all
of the
tiers
of this vase.
not
who would
have had to return and return again until he had found him no longer
in
and a
dealing with
9>
In
clients.
who had
result,
painting be reworked
Andrada.
agreed that
it
He
settled,
but
it
would, he
Guild of
There
auction.
no record of
is
Of
outlook on
his
mood
of a
they
if
Furthermore,
man who
life
richer,
how
if
bowing and
the verge
scraping.
it.
when he was on
time
at a
in the habit of
Ihe
.he dispute with Senhor Andrada provides
artist.
Luke, and
St.
he would change
likeness,
of bankruptcv.
said,
like that
sell it at
girl
was a poor
he did
in effect, that
committee of
When
it.
or that his
Portuguese merchant.
to a
was not
it
with a Portuguese
in a dispute
and
art
Rembrandt's private
during the
640s. His
re-
ing near." In the seven vears between 1635 and 1642. death struck at his
family
He
six times.
van Uvlenburgh.
visitor in
mous
and
his
own. and
a beautiful posthu-
for this
find,
illnesses
its
portrait of her. as
a rare
painful objectivity
final illness,
his
in
all
who
his
mother and
life
his increasing
of his
first
failed to
have had
vears in
Amsterdam must
About
The Widower, a delightfullv humorous work that shows a man attempting to spoon-feed an infant with the frustration of a plasterer trying to
a hole in a wall that sometimes clamps shut and at other times
fill
some
about. Although
brandt's
own
situation, the
drawing
drawing
his
work
\
is
that
reveals a
it
in cruel
man
is
is
Widower
moves
directly to
Titus.
What
is
significant
Remis
no
about the
circumstances
kindliest of feelings
a will,
common
later
cause him
she saw
tit
She
04
left
from
it
it
husband should
up the
cess
will,
that her
husband would
never have trouble providing for their bov. Saskia added a further stipulation:
if
Rembrandt were
Not long
widow
terical
allv
woman
in
his
named Geertghe
nurse
the
it
light of in
how was
would go not
sisters,
problem he made
household,
one of her
to Titus but to
who was
Dircx.
woman
gener-
turned to the
is
artist.
he done
so.
fact,
token of
in
he was
in
his intent.
Rembrandt
Had
no position to remarrv.
to forfeit the
large.
will.
his
circumstances and needed everv guilder he could get. Despite his denial
of anv promise to Geertghe. the Dutch court was unconvinced, and he
town of Gouda;
is
good
him from
his obligation.
He
kJome
time
in
the
household a second
him
as a
maid.
Stoffels.
discerned
in
served
first
temperament from
til
soul,
him
model
to wife in
still
in
rare
new
(The
artist,
Cornelia
II.
gave that
name
series
of self-portraits he
last
decades.
and
Bv 1648 Rembrandt had more or less reassessed his world and his
The etching he made of himself at that time reveals a man who is
not melancholv. but who knows misfortune: not grim, but charged with
an awesome determination. In his personal life he was sustained bv the
art.
and
as
other
an
artist
in
whom
work, the
in this
beginning of the
that of
in earlier self-
searching analysis
of personality appears
42 shows
at
window, holding an
at his studio
ideallv suited to
servant to
his
Geertghe.
who
into
few-
privileged to discover.
95
D.utchmen of the
landscape pictures.
sensitiye.
own
simple and
connoisseurs.
So
of charm,
full
great
into sub-specialties.
still
suryrve to delight
for
them
itself a specialty,
Some artists
in their
was diyided
Landscapes:
Real and
Romantic
on town
lasted less
than 20 years, from his early 30s to his late 40s. His
little
more than
a tenth of his
work
in
other
fields.
Some
of
With
realistic.
to express his
medium
of
paint
oil
He
nature.
reproduction.
Not only
faithful
wash draw
combines Rembrandt's
for the
dramatic with
appreciation ot the
.1
nig
c.irh rl.ur
tresh
homeh
none
96
him
to follow
in that
Rembrandt
hast\
and
is
into
drawn w
ith
97
Six's Bridge,
164?
<a*
"n
enlarged,
Ij
c.
Amsterdam he
river
the Diemerdijk,
is
landscape.
With
far shore.
in half,
his
The
an especially
flatness of the
all.
Bv
reiving
on blank
The etching at
famous
instantly
summons up
slightly
reduced from
left,
Six's Bridge,
actual size,
visiting the
the
is
is
in
an
Six.
apparent.
99
II
6 50- 1653
The
100
Omul. 1645
A,
.t first
still
familiar to travelers in
its
Rembrandt's complexity
Windmill (opposite,
study
top)
in personality;
is
Dutch
Holland today: a
vista, a placid
farm
in
as
an
artist.
owner's fortunes.
The etching
it is
ostensibly no
the willow at
left,
and
in
a point
that
is
an exception anions
is
nature.
one of Rembrandt's
rare ventures
dimensions
it is
shown
actual size
painted landscapes
fully
in a
50 times
more ambitious
made
it
period
as large;
landscapes,
it 1^
Rembrandt seemed
to be offering this
little
his
work
own
as
artistic past
whenever he so chose.
101
w,
most of his
out
all
Stormy
it
general
by the fantastic
panoramic landscapes
predecessor
ot his
lercules Seghers.
scope of Seghers'
that "it
is
as
wrote
vistas,
ifheweni pregnant
description that
." It
is
sums up
Rembrandt's visionary
landscapes as well however, he
.
abandoned
when
In-
this
type ol painting
was aboui
returned to
it.
102
and never
Stormy Landscape,
105
c.
165
1(14
V
An
Exploration
of Styles
It is
ists
impertinent about
brandt,
whose
some
is
also
it.
artistic
legacy
celestial
was so
dark
and
large
The thought
self-explanation or defense.
hence, in
but there
who
in
the case of
left
so few
of encountering the
Rem-
words of
artist
ages
who
pre-
alley,
art-
something colossallv
What follows,
it
should quickly be
said,
is
the
of the transition
life.
He
is
Rembrandt was an
tradition.
There
artist
agreement
as to the nature
resolved.
artist
and employed the Baroque elements of turbulent motion, dramatic diagonals, curving lines
other means
was
1
far
at
Dutchman
his maturity.
stresses
mature work
If
classical ran
7th Century
revelation; this
tendency to the
together
To be sure, Rembrandt
moment of
his
feelings
dominant.
A favorite Rembrandt theme was
more profound
in classicism,
brandt's
work of
in his art,
light
within himself.
the supper at
and clashing
for that.
much
realist,
classicist;
he
cer-
many
Emmaus, 1648
Sandrart,
in
105
mm
in
it:
such
art
tive
as
ly
which are so
from
Indeed,
profession."
drawing and
Raphael's
statues,
classical
tended to
Works of
He chose
human
antithetical
poem
in a
Mound
the goddess-types
to
of
this sort
mind
in
Rembrandt
ferred to
was
custard,
ingly soft as
years
Renaissance.
particular-
earliest
his
Rembrandt had
satire.
rules of
perspec-
published
1681
in
in
which he
re-
thus:
else to
"imitation of nature."
him was
idle
ornament. Flabby
breasts,
Of the
corsets
Must be
This
is
visible, if nature
his nature,
was
to get
legs,
her due.
rules.
abound
and
in rapes,
classical
nude, but
classical painters
fact they welcomed the opportunity it provided for drama. In conventional rape scenes it was customary for the victims to throw their arms in
Y-shape
own Rape
this
was
is
drew the
Up by the
ing,
and from
annoyed
come from
as
woman
drawing the
this
Eagle,
at his
art-
Ganymede Caught
hand. But
revolt-
is
highly likely
called a "put-on."
Michelange-
his
it
Correggio, Rubens and other painters had been able to treat seriousl)
lo,
the
myth
oi
in
prince
who was
so
handsome
for
his
One of Rembrandt's
ing Boy.
up a struggle? In
To
the air to indicate the dire fate that was overtaking them.
in
Rembrandt
that
him
to
to be sexuall) assaulted
Ganymede
is
not a Greek
hero but the above-mentioned Amsterdam brat, and the entire painting
which onl) the most forthright of Dutch burghers would have wanted
hung permanently in his house is not dramatic but coarsely funny.
Rembrandt's anti-classicism, however, was by no means all-inclusive
it
106
man who
in
the
least in
silly
at
set
re-
still
He
prints
as
Rembrandt had
Ti-
tian,
He made
contrary) Raphael.
own
in his
in his
own
He
work.
not
had
also
number of
casts
order
in
spirit, as in
world were
classical
qualities but
came
Or
the
(page 125).
Western
great
all
artists
from
foreshadowing of
clear
his turn
for sale at an
margin that
it
it;
A year
earlier
in
Amsterdam
in the painting
Rembrandt
auction.
it
and noted
in the
Amsterdam
art
market
roughly pyramidal,
sill
as
his face
on which Rembrandt
He
soon
his
#qhS
*+J^**
'**)
tffi^tfb+^-i*
:
picture
j/'V"
time he must have seen Titian's so-called Portrait of Ariosto, which ap-
own:
->
he had seen a
12).
rests his
it,
Renaissance: the
the lines of
itself,
At an
art auction in
this sketch of
Italian
hat.
163 9
Rembrandt made
Baldassare Castiglione. an
bv Raphael.
Rembrandt's increasing
Ihe
.he appearance of classical
signal that
would not
classical
in
one
new
elements
mood and
in
can be
seen.
The
painting
is
Amsterdam's busv
scnbbhngon
art
market. His
it
is
who
work
will
always be
it
known by
an incorrect
title,
its
name and
itself. Its
its
"darkness"
formal
title is
The Company of Captain Frans Banning Cocq and Lieutenant Willem van
Ruytenburch, and not until late in the 18th Century did it acquire the
name by which
"Watch"
it
are wrong.
is
now known.
The
civic guards
who
them
pacific;
it
Amsterdam or
to
work he was
reflects
go out on
107
if
thev
it
is
"Night"
even
is
darkened bv
and
dirt
When
the
was
it
in
II
critics
had become so
canvas
had when
work, not
monotonous
his.
and so too
colorist
who
is
it
artist,
"Day Watch.")
the
is
it
Rembrandt's hand more than 300 vears before. (Upon seeing the
left
their
whether
difficult to tell
it
fields for a
in a parade.
the illumination
moon. Not
less
word
attached that
lic
mav
worked with
invariably
a low-keved palette.
phasis
disturbed certain
Ruskin. the
wrong
and
critic
its
It
em-
qualities
critics,
is
who
John
had a su-
"it
is
the aim of the best painters to paint the noblest things thev can see bv
sunlight, but of
rushlight."
.here
bv
an understandable,
is
if
why Rembrandt's
the late
tv.
7th and
would make
to
frightened
you.' "
and colors
who wanted
away by
The
attributed
his
probability
to laxness or pervcrsi-
fuse.
According to Houbraken,
look
to
that
at
his
ot
works
is
closely
the colors
work
it
critics ot
at a slight distance,
his strokes
studio
his
who
8th Centuries,
was to be observed
tors
knife,
increas-
broken color.
with
critics
pleasant to
at
many
will
all
"visi-
were
bother
concerned
lo their
credit,
it
Man's
art.
lead. b\
700 an English
dedicated to " \n Old
said so. In
poem
Rembrant":
What
a coarse rugged
ay of Painting's here,
08
in haste.
placed,
in such a sort,
One
two
or
is
Part
subtil
theorists of
his paintings, in
their "coarse
if
one stepped
back from them, but they noted that a similar coherence could be obtained
As
with varnish.
Rembrandt's death
many
applied to
fortunate
by
more than
for
result,
liberal applications
stvle
areas.
he would ultimatelv
full
its
and complex
what
paint
on page
it
80,
some wonderin
it
the freest
gallonage of Golden
color plate
is
contains
it
Glow and
(How
Toner.
the varnishers.
after
century
which shows
must be
severely
may be
Rem-
seen in the
was
to protect the
the strokes and colors blend. Inadvertently, the varnishers also rendered a
great service to the world of
art.
when
In 1911,
Watch was
the Niqbt
still
cook went
at
it
with a
of apparent madness
was
not.
tacker
But
its
knife.
He seems
bevond the
fact that
it.
members of a group
for
less
it
guardsmen expected
group portrait
who were
portrayed
full length.
The guardsmen, most of whom must have been familiar with Rembrandt's Anatomy Lesson of Dr. Tulp of a decade earlier, may also have
foreseen that the artist
for the
But
thunderous masterwork
.he Night
proximatelv
Watch
1
by
is
colossal. In
6 feet
its
original dimensions
Rembrandt
It
was by
to give
far
it
measured ap-
guardsmen but
more animation
to an
still
traditional
more complex
109
but
unified whole. In
still
monplace
affair
became
filled
the sound of
after
all,
Cocq
and
black,
drive of the
unformed
still
converging diagonal
his lieutenant in
The
ranks.
on the
lines:
the captain's
left,
effect
line repeated
staff, its
on the viewer
is
by
reinforced
still
higher; and
direct;
is
in
foreshortened spontoon in
right, the
it
movement
sense of
on the
com-
he had
feels that
The powerful
ment, but
in
many
others,
He
point.
shadow
from an
by the
cast
at
is
shadow of the
The
picture
captain's
own
The
sun-god."
but
left,
ticular detail
may be
move-
"his
critic,
officers
studio
from
the
it is
for his
own
is
opening or
his lighting in
any par-
He
lies at
Rembrandt myths. As
man
in
visit
down
critics,
Critics.
few of Professor
wrote a word
in dispraise
copy of
London,
it
in
it
was
utterly de-
oil
The mvth
lifetime
'failure' [that
KLM
country-
illustrious
it
of
it.
during Rembrandt's
critic
offers further
in
in
some obscure
location;
it
was
first
hung
klo-
in the
no doubt
suits.
it.
hall, as
The
greatest loss
prominent
was on the
left,
where
was
cut
a strip
its
Prince ol
10
about two
lor
all
feet
this
tour
wide,
supposed
Rembrandt
and
transferral,
down on
ceived about
it
a place as could
re-
later the
it is
ter.
In
thereafter he slowlv
One
the
at
height
of his
faet
complex mat-
and
popularitv.
What were
fell
its
means of disposing of
citizens,
perhaps growing a
trifle soft in
art.
their
initiated
who. however
fine
an
artist,
of chiaroscuro dissatisfied
them
what
they devote
some thought
to
kjeveral of Rembrandt's
Dvck
who seemed
"dark" and
by
too,
that
at.
pupils,
artist
demanded
Ferdi-
is
not
make
concessions in his
creasingly acute.
On
found.
even though
art,
lay, his
work became
widowed
Princess of
Orange
The Hague, he
need for
new vogue
indicated
in-
where
640s,
who might
list
of
And
years
later,
artists
although he frequently
*:
<*
Bw..
'<
in
\tftsrim
jwtfit
Amsterdam
that
Watch
(pages 82-85).
watercolor cop\ of
album
(below).
painters.
mi sSjS&rmm
decorate
in
lro
asked by the
make
many minor
>
But he would
money grew
steadily quieter
of
did.
to
made mention
his
he
is
it
Another reason
his
Rembrandt's decline
for
popularity
in
been a fair,
if
He
Scriptures.
known works
was primarily a
portrait painter
lical
but
about 400 of
many
New Testaments.
his
the
600
artists in interpreting
who
call
to
paintings, plus
works to
them
sell
satisfy himself,
later.
ferred to
In the auctions of
Rembrandt's possessions
in
was
realized
Among
pathetically small.
work on
work and
Like most
it.
artists,
a now priceless
Museum in Lenin-
Today
Hermitage
out selling
in the
is
it
he kept some of
23 or 24 years with-
his paintings
on hand
for
it
particularly
when he was
in
need of money.
I n his
and more concerned with the inner reactions of the individuals he portrayed than with their outward actions.
stories as narrative,
ofManoah,
reveals his
new
monumental,
preoccupation. As
classically
Rembrandt
has just appeared to the aged iManoah and his barren wife to
become the
caught
years,
in
is
departing
Samson;
at
upper
apparition, their
arms
raised in astonishment.
his
at
left.
the
tell
them
moment
In his earlier
Biblical
attracted him.
Sacrifice
It
in
Such
troubles,
art.
12
\n
lost to
work
air ot
led
him
to
become
bitter,
seemed
to
tenderness, a
been temporarily
effect,
values in Rembrandt's
in
human
this
Holv Family and the Flight into Egypt. He filled his paintings with
homelv details: the Virgin warming her feet at a tiny fire, a cat ready to
snatch at the bowl from which the Child has just been fed. Rembrandt
was able to place the Holy Family
olating any sense of decorum.
in
It
humble Dutch
does
not
Amsterdam
carpenter,
where the
vi-
home
of a
7th Century
at least in spirit.
without
artist
R,
ple,
interiors
can be seen
it,
life,
in
his
and
his stress
tan
God
in
Good
3: all
Samari-
example, he used
it
in
two
street scenes, of
pancake
and particularly
his studies
ter are
known
are
full
sellers,
women
of
and children
to
some 60 of the
lat-
for
Two Women
lines
his favorite
medium
in
artists
in
make
who think
ly in
55),
which
rightly considered
He
many
drawings
copyists.
a brush alone
is
is
work of pupils or
640s
seem
so.
the
a fact that
may
well
A Woman
Sleeping (page
weight of the strokes and the amount of liquid Rembrandt permitted the
brush to carry.
In other drawings
brush. His
with the
economy of
line
his
then apply-
some
a collector
who
at-
on the
artist's part.
It
may be
11?
how and
interested in conjecturing
is
A Woman Sleeping,
be able to explain
alley
there
If
to
it is
this to
who
indeed someone
for example,
he
believes
hoped
to be
that he
dark
in the celestial
The third
great category of
Rembrandt's achievement
his etchings
One of his
640s.
Baroque
in
finest
dra-
its
its
a greater breadth of view and an increased calm. Remmuch time working out of doors in the Dutch countryside
Amsterdam a number of his small landscapes (pages 97-103) can
works he displays
brandt spent
near
exist
still
Baroque
theatricality does
not accord well with the vast stillness of earth and sky. This calmer manner appears in the etching he did in
Rembrandt
is
completely
645 of
realistic, faithfully
In
Century French
air.
his etchings,
all
who
art dealer
Here
Edme
Francois Gersaint. an
compiled the
first
is
8th
is
been
far
Rembrandt
at his
Rembrandt made
his etching
\\
books written by
as used
by Jan Si\
bis Friends.
as the
on
ireek
bi-bmd
the
,\n
mj
th. It
altar as Jason
iolden Fleece
whom
betr.n
her love by
woman
Rembrandt chose
though
it
is
not
pan
iuriousk
ol Six's pla\
ing: the
Countrv-Seat.
came
down
to acquaint
that
when
his
who knew
man
Wager
that he
at
Hand
it
ready var-
the landscape
The Plate was indeed finished before the Fellow came back, and
brandt
The
won
his
Wager.
Hour
would
who
Window
as
she led to
It
lived in great
was frequently
rare occasions
mem-
On
artist's
sitting.
Rem-
."
.
this period.
On
other occasions he used strokes so tiny that they can best be seen with a
magnifying
ow
glass;
minute, closel)
time, for
trait
14
he combined
and shadows so
set lines
example
in
literally
thousands of them
m.n be seen
Thomas
facobsz.
own
in
works
half-shad-
paintings These
in
ot the
the por-
As he experimented with
his etching
in-
creasingly to use a "dry point" needle (stronger and heavier than the thin
etching needle) with which he scratched directly on his plates, using this
device in combination with the lines etched on the plates by acid.
The
curl or
Bv
and
lines
awav
as in
engraving;
it
var-
thick.
left
on
Rembrandt's
Drawing
Self-Portrait,
Window
at a
point lines are particularly noticeable on his sleeve and around the open
throat of his coat.
Often,
when he wished
could not be produced either bv the etching needle or with dry point,
most celebrated
new
style of etching,
were used
in
print. Christ
worked on
it
work
the
"Hundred Guilder
so-called
state of the
complete
plate.
in
The
in this
work
soft
was
is
combine
to
left
several
Print," be-
became
ruined by re-working.
finally
in-
The
burr
theme
Only 10
impressions of this
in
episodes
the
life
the
in
he
text
illustrated.
A, the time of
the
his maturity;
but
it
Rembrandt's etching
point out, in a single great work, the extent of his development during
The arrangement
symmetry
may
that
very well
it
in
is
no
Gloriosa
imitative.
The
painting
very well
ically
by a
how to use:
far
is
classical
restrained, hushed,
is
differs
in the figure
meekness and
representations of
love.
is
divinitv
is
learned
in that there
is
\nwcrdam\|c\\
i^h
his
His
if
Him
He was
not yet
in his
Israel
interested
\\
a^
which
David slum;
at
triumph of Jewish
spiritual leadership
who
as the
more human
work had
"mature"
was
at 42.
one of
home in
quarter,
any,
b\
I,
Him. The
od and
The
Rembrandt
superhuman
halo.
eventual
from a sunburst or
device that
for a
in
way
<
ot
peri-
115
would
Rembrandt produced
his easel.
Roman
his portrait
of his
The
Breadth
of Genius
Most museum
forgo
it
for
directors,
if
excellence
an intimate
However, the
oil
fact
is
was exceedingly
While
his
fame
rests largely
Biblical paintings,
and everyday
the
first
life.
on
his portraits
and
Not
century
when
completed
panorama
had
set
before them.
It
was. and
Danac
still is,
(pages 118-
came
his
Rembrandt had an
technique,
think
the
in
Ins
b) this small
personal approach.
by 18 inches
ledid not
in
for the
"pagan"
Homer
(page 124)
was
unknown model
appears
I
it
16
ar
the
where or w hen.
An affectionate
it
ma)
a preliminary
also
have served aJ
Bathsheba.
It
ol his
117
embrandt's Danae
painted.
is
by
far
work
is its
light,
which
relates
mvth with which the artist was dealing. According to the story,
would
an oracle warned the Greek king Akrisios that his daughter. Danae.
chastity,
bear a son who would kill him. He therefore kept her in enforced
directly to the
symbolized
in
guardian maid servant and entered Danae's bedchamber; from their union
came a son who eventually fulfilled the prophecy. Here Danae raises her hand,
both to shield her eves and to welcome her arriving lover, whose presence
Rembrandt represents in the magnificent, unearthly yellow light pouring
voluptuouslv over her face and body.
r-
..
Portrait afSaskia
Roman
o!
goddess
more than 20
iic
ol sprint;, vines
years.
and flowers,
Flora, the
at
lor
an Interval
which
Ins
is
Flora,
./>
that this
is.
really neccss.in to
painted after
restrained approach.
painted in a
Using
monumental
style,
more
model, he
it
Flora as a courtesan,
to this
121
c.
\6*~
Rembrandt ever
titled this
it
the
name by which
it
has
his paintings,
become known
he almost
The
Polish
appealed to
all
Christians.
and
Rembrandt
had gone
plainly
face, at
all
young manhood. The horse, which some critics have scorned as .\n
awkward nag. is in fact an example of the perfect mot juste in painting: if
Rembrandt had produced a full-rumpcd. galloping steed in the manner of
is
best in
at
that
*1
-
i
I
^^
'
-^
~"V"<
Horner. 1663
LJupremel)
gifted with
.is
that
in his
paintings. Perhaps
124
discern truth.
to the subject of
what he wished
to say
visual capability to
(left)
and the
The Homer
in
Aristotle
the
last
has been
life.
damaged, probably by
lire
a>-
student
but
it
loss.
The bard's
is
andHomer the
another of Rembrandt's
in
in paint that
words.
125
L,
Rembrandt
often
less
arc so
straightforward
26
power
his
is
particularly true of an
fated
Amsterdam
eit\
town
hall: the
now
start of an uprising in
69
D. againsi
Roman domination
name, Julius
Civilis.
chieftain had
created a
adopted a Latin
Rembrandt, painting
as
though
his
it.
at
understand
127
Drawing
single
word never
With
one word
1661
"Shakespearean"
literal
is
of
fairlv apt.
representation
archaic, barbaric,
lordly, wild.
remote, strange
,1
There
is
at a
historic conspiracy
a particular event.
every
is
astonishing: he painted
the work, above, indicates the majesty of his conception. But the
why
is
past.
asked
not the
result.
They may
in profile, to
men who
well have
hide his
empty eye socket. They may also have asked why the Batavians
the Dutch were- proud to have. is ancestors
were not nobly drawn.
hideous,
whom
down
its
central
Nation. il
still
28
the hugecanvas
group
\\iis(
holds aloft
salable,
and
originally
this
96 square
remnant
is
hall.
feet in.size
now the
Rembrandt
In
later
hoping to make
is
forever
sworn upon
it.
B;"
-.''
*P
V3i** .
r'
-'^
late
Jewish Bride,
artist to
represent
them
as figures
as Isaac
the
and
come from
of his final
He modeled
depth of as
his
much
as a
pigment suspended
laid
is
particularly apparent.
on with a
palette knife to a
in oil,
amount
of
his colors.
VI
Triumphs
and Trials
spirit,
anv. other
if
German.
painters have been able to go. This has been said in Dutch.
Uzbek
quite true.
able words,
it
However,
and,
since "soul"
requires a
in fact,
it
must be
said,
because
it
roundabout approach to
matter.
in a
it is
much
his figures
seem to
pear to think."
In the portraits
figures did
Rembrandt made
young man
as a
in
Amsterdam,
think.
his
Most of
than of thought.
his
warehouse, the
As Rembrandt matured
subjects
and paying
contemporaries
manded
was
disconcerting.
outward
more profound
reality,
The
To some
tradition of the
within
of
Dutch de-
his
man was
this
difficult
them to grasp.
Rembrandt did not alter or distort the appearances of his subjects in
order to impose on them his own view of what their "souls" or "spirits"
were
him
like.
He
quintessential.
portrayed bv other
Portrait of Burgomaster Jan Six,
this
for
this
less
a portrayal of
At
his
in
traiture
654
Among
artists.
A comparison
were
several
of the likenesses
who were
also
made by them
But he took
a longer
sense of humanity.
Bv
with
it
own
his
power
in
lis-
tening to inner voices that seemed to whisper to them from bevond the
region of thought.
Not
all
characterizations.
during
Amsterdam
sophisticated citizen of
was uninterested
would probe
producing a "fash-
in
far
who
ers
Clement de Jonghe.
traits
common, among
gence.
them
It
is
them
Town
those with
whom
in his
He
about to go out
is
a reflective,
He listens to their
deals.
secret thoughts
and
interests.
somewhat melancholy
among
is
and
is
Neumann's words
their
in
in
which seems
the world."
is
who
leader
who
can afford to be
men
detached
own, who
comes
Man
le
in
close-
makes
this
hall,
it
it
who
is
has
sympathetic
bystander.
too
di-
as all this
ty"
the
words, and
And
inexhaustible,
and
percep-
Six's
all art.
he regularly
more
for him.
sit
arresting in
Neumann,
historian Carl
of thoughts.
full
is
to
is
Rembrandt, described
intelli-
critics
The German an
it.
tive study of
There
in
his eyes;
por-
The
all
his
in
a publisher of prints,
mark
thing "spirituali-
appears
Two
who
in
such
Negroes and
is
followed
men
in his
traditionally
his
lather's
trade as a miller.
In
Rembrandt's view,
stature
?4
it
it
was
to have
be of any particular
common
to
all
am special worldly
ageto possess the
mankind
le
saw
it
in a
boy
felt
how
in himself;
it
may an
better, indeed,
artist
His
Above
he saw and
from the
self-portraits
late
wholly defined.
meditative
tried to
that
touch
It is
in
never be
all
can at
which
may
is
otherworldly, spiritual,
secret,
it
in
sential quality
rich
it
others?
in
it
all.
grasp
least partially
Of
be described.
or
particular note
do not glance
is
the
the spectator.
at
Their eyes are not furtively averted, but neither do they stare directly
men
outward. These
listening,
sheer
tery,
fied,
and
skill in
it
human
Out
expressions.
gift to
his
shadow
Gravely digni-
convey that
But beyond
artists
it.
remembering and
thoughts,
painting
which other
chiaroscuro.
own
their
in
unmatched
ability to use
1650
If in
1640
more
particularly to
His look
reflects
mood
the
who
aged considerably.
larger. In the
his eyes,
1658
is
is
good
deal of steel in
later,
Rembrandt appears
to have
is
a great
brandt's expression
man who
of a 44-year-old
furrow between
his
12, 13)
him and to
it
also challenging.
it:
of
may be caught.
sion, in
his
mas-
own
by
fact
this technical
Rem-
with
good
reason.
final
remnants of
curiosities
in
the hands
of the auctioneer.
may
them
Aristotle
Sicily,
still
his Bibli-
among
even to
and he
where
it
become
international, extending
aristocratic collector
Rembrandt from
in
1654 the
135
Homer w as
but
known
it is
Rembrandt than
In
all.
it
for
works bv
would seem
delivered.
The
fee
is
not recorded,
that Rurfo
his Italian
for a
contemporaries.
tastes
is
much mentioned
in
Hoping to increase
Rembrandt "at intolerable
v_ ^
-> V,
r>
'
prices
"-
them,
(Sf
v
fall* XL_ W _ .i.
^ -
anv
price."'
>ey^
sums
for his
deep
Amsterdam
authorities
compiled
rirst
leaf of this
document
one
insatiable in
more
two
lists
artists,
amassing
drawing and
Rembrandt's
print collection, an
will
pan of the
interest to accountants
Pass
Ri|n himself
He
had bought
it
on."
iW
rr.ot
St
Dm (rtBra
)t Urrkopmgr
it
He
ten l>uvCc
ban
7th Centurv
resale but
seems to
art.
handsome millstone of
1639 during
his
but at
house
down
had put
onlv
owed 8.470
guild-
protect his son's inheritance, which Saskia had entrusted to him. After
his debts
cessio
in
When
bonorum
literally, a
citv council of
bv which
his personal
pavment. Rem-
Amsterdam and
cession of goods
applied for a
he would agree
at sea
or
in
trade'
less
bankruptcy. Rembrandt's appeal was granted, but the result was merely
a
in
bankrupt.
to
move
it
was
out of his
were sold
56
al-
and that he
he had an
selling the
brandt
jfttnfrfr
to
regard either.
possessions as securitv.
in
Rembrandt van
ers.
insolvent
is
Saskia.
658. a few
sale of
own
his
But the
plaster head.
pax-
Baldinucci's tale
poor manager of
(above),
if
The
and
am inutelv
financial trouble,
artist,
tactic failed.
were delighted to
collectors
Dutch
Rembrandt,
be believed. Rembrandt's
was
When
all
Although a few
It
large
o*
at
\o
J60
six
handkerchiefs "at
the laundry"
insight into
but the
entire
Rembrandt
worth examining
in
an
as
some
list is
artist
and
as a
man
One
One
6.
One small
painting of a
15.
One
well
small painting of
of these paintings
is
it
Jerome by Rembrandt.
St.
detail.
Only
.60.
a few
the cen-
in
turies since.
The
inventory also
etchings.
a large quantity of
lists
"2 36.
all
the British
Museum,
theque Nationale
The
.238.
latter
black leather
in
in Paris
in
New
York,
it
is
highly doubtful that a complete set can ever be assembled bv any muse-
um
anv
at
price.
Rembrandt's
interest in the
is
also
life
and
ings,
Jan Porcellis.
ing of
follow
who specialized
who
Rijn.
as a
lost,
A,mongthe
his
tried to
some
but
surviv-
marked
One
his friend
skill.
death at 27.)
today
is
portrait of a
dead
gar,
even
in public squares.
it is still
than originals
included
set
as fountains in
most
up
town
gardens and
in
the city ot
hall.
were probably
statues of the
plaster
in
chronological order in his gallery.) Item 345. with the startling listing
"One
little
child
Church of Notre
Dame
in
cast,
Madonna and
and may
Child sculp-
Bruges, commissioned by a
"
to Raphael.
way
be no
Titian.
Although works of
manv
art
"Two
include:
One box
globes.
Thev
full
assegais
staffs,
fifes.
and
collec-
One
cannon.
[pair of]
Rembrandt had
books of various
book
in high
two colored
coats.
One
German
War
owned no
bv the
at least at the
works except
literarv
first
R,
still
guilders
The low
one
were
members, fearing
was
that the
in
etched
some
rea-
the plav.
7.000 guilders.
mav be
prices
in
-artists in
When
artist
Rembrandt's fellow
instance.
The
more than
Centurv
copv of Medea, an
him
First
"A
been.
is
have
subjects"'
tory, appears to
mav have
sizes.''
an old Bible, a
a collection of
"paper
art"'
rich a
stock might depress the market, arranged for the sale to be hastily held.
When
in
sum of 600
and
it
it
guilders.
it.
own
Titus.
final lv
dam beyond
rent
it
is
likely that
without
{8
of Amster-
in
mind:
No
to live
after his
doubt the
away from
unhappv
ex-
It
is
true that a
in a section
Rembrandt chose
society.
illegitimate
his
periences, he
young
Hendrickje and
life
bankruptcy, but
One was
in
a poet
virtue
many a
tale
about
that.
cording to the
not
for
sitter's
be surmised from
lines:
late date,
its
money,
ac-
As may
art.
grasped the
One
artist's intent.
of
them, another poet named Jan van Petersom. studied the picture and
wrote:
"O
Rembrandt, bv vour
.here
were other
zeal
friends
who
his
er,
who
him bv manv
artists,
own
when he
who would,
death. Some of
survived
."
after his
One was
Aert de Geld-
8th Centurv.
in
the master's
Rembrandt was
so great
sitter
with Rembrandt's
to
sav that
he had
destined to go to his
Nor
did he
as
again, contrary to
mvth
languish
in
in
not
money he might
from future
receive
sales
of his
but an ingenious
art.
and
fumed
art.
dummy
the
it
him
to
of works of art.
The resumption
He
him
in
collected whatever
as
up
as
his creditors
money Rem-
silience.
While
as their adviser.
two "dealers"
loans to
in frustration,
formed
dealers in
who
if
(Some
also continued to
work
re-
all
of
the disasters of the 1650s and through even worse personal losses that
were to follow
in
preoccupation.
It
commissioned
seems
portraits
safe to
if
happen to
whom
like.
As
it
it is
whom
also easy to
he did not
who
Rembrandt showed no
little
or nothing.
had
L39
whom
human
who
artist
man
ist
Rembrandt
face.
God
and
art-
his
Within
flesh.
tried,
all
faces
purpose, but
late
from outward
ennoble
tualize or
types
1
making them
his subjects,
7th Century
or
last
in the
line
were
Rubens,
the Bible.
transcendental
ular
realitv to spiri-
timeless,
in
he visualized
between
in his
had
sec-
reading of
tried to suggest
bv
who had
poor, wrinkled,
idealizing
as
Rembrandt was
fascinated by exotic
dressed
still
India.
shows
His portrayal of
type.
somewhat
R..embrandt's
Shah
mausoleum
ple,
man who
8th and
appearance, not
Bartholomew,
St.
unattractive, crude
unknown modfor
exam-
bears no resem-
some
9th Centuries.
is
in
superhuman
one
in
contemporary Emperor of
Jahan.
Negro kettle-drummers on
was
selected,
perhaps
horseback (above).
artist
8,
he had
Mahal
It
as
intention in this
pondering
their
customarv attributes
sword
is
Lord and
St.
shown holding
is a man of
who sits rapt in reflecwho are pictured with
is
this miracle.
Bartholomew
St.
tion that he
work
light of the
About 100
alive.
years after
it.
that
is
apostle
re-titled
mezzotint
titled his
dissatisfied
In the
his creditors;
Not
until the
artist
might
late as
surgeon.
19th
riously
Assassin."
have employed
"The
cook
critic se-
at all
but of
at last
ol a
straightened out.
The freedom
freedom to
rich
costumes
casionally,
140
that
cast
them
in
sitters
he chose himself
in his
in
commissioned work Oc
who were
sufficiently
enlightened and appreciative of his art to allow him a good deal of liber-
ty.
130-
as
man
he places
as
his
the question,
speaks for
it
itself. It is
would make
one more
to
Rembrandt's
fall
from
fiscal
advance
Critics continue to
but even
new
specu-
The double
scant difference.
brilliant
if
portrait
example of Rembrandt's
ability
spiritual.
number of com-
about 20 years
ined"'
after the
won
in
modern
duced what
is
all
his
group
he pro-
portraits (pages
86-87).
The
Syndics
hind them.
shows the
The
been that
who
are
all
looking
one point
at
appear
fact,
indicates that
do the Syndics
then,
at
someone
in
some
to be responding to
is
no audience.
Why.
member-
drama bv
unifies the
brilliant characteriza-
how Rembrandt
artist
was
strug-
satisfied.
The
finished
work
edge of the
still
line of the
faces of the
men
of character transcends
saw decency
as well;
if
all
men
recti-
7th. to
41
engraving or woodcut
jointly
them
by
filled
esthetic
enjoyment and
word
itself,
the
etching,
is
met
news photograph.
It
gave
it
The
Bite
of the Print
means of
artists
prints.
themselves
Some took
owned
paintings inaccessible
to public view.
lived
was greater
as
woodcuts).
turned
it
into a
wondrously
of the
medium, he
flexible instrument of
his art.
in
all
command
combining
As much
in his etchings,
it
in
the
work
Shown
pictorial effects.
Rembrandt's
\l>ovc
all
Rembrandt's great
gift as
an etcher lay
in
142
(i.
Boon
skill at
in
.\n
expression
markedly
the deeply
TbeTb
letail
i ti
r-rr
#I
&3Mtt
x"*^^
I
ft
&
:-X^,
rja v
.--.*
$*
V.
|
'WL
JH^ L^Mtiii
Tbe Three
n etching a plate.
shown
The
in less
third
23
was
44
\nd
And
as
he
and fourth
states of
opposite, respectively.
"
size,
Tbe Three
Rembrandt took
there was
Crosses,
darkness over
his text
all
from
uke
the earth.
two
thieves
The Three
others.
deepened.
hehind her
St.
John stands
in a
is
the Virgin,
posture of
desolation.
In the fourth state.
Rembrandt
illumination:
significant
change
is
in the
The supernatural
light
has
has
its
the
artist's
many
realized with
overwhelming power.
145
is
65:
,-*5ft<-,:
life.
mature
more
his
amusement
trying to keep a
at the plight
dog from
of the
little girl
and The
householder
(top)
648,
types.
trenchant commentaries
The
prints opposite
the
ks
Ratkiller. I6.?2
98fr
'~1W.
Jews in a Synagogue,
o4S
14;
'
'
*mm
*PM *
'"'"'
>A*
>
fe
'i
it
(opposite, top) a
contains
much
that painting: at this period of his career he seems to have been particularK
inclined
landscape
in
their
work
is
the
is
sketches; a
man
at right a carriage
fishes; in
While the
light
alive
sunshine and storm, and with wind that sends the clouds flying.
teems with
words
connection with
black and white, but in this case they are apt enough.
shadow,
in
and
with
The scene
almost concealed
in
move about
hill.
In
its
most accomplished
yT
-
8m
:
fan Six. Reading. 16+
70
etched portraits.
him
as a scholar, writer
of Haarinu
a portrayal.
in paint. In his
is
and wealthy
devoid of such
He was
details,
bailiffof the
collector.
but no
The studv
less
interesting
Amsterdam Court of
The sitter's
the
it is
man
nonetheless, for he
151
Nude Seated on a
Renaissance
art.
Rembrandt undertook
to
mules of
show what
another
unfairly; the
woman maj
it
critics
was onl)
left
by garters on
flesh. In
Rembrandt's
152
it
own
in
artist to satisfy
the
classical proprieties
lifetime
demand
w ere
tor
also
(opposite).
\<>unJ. c
realistic
it
The human
is all
artist
16^1
Rembrandt's target
after
dent
The
figures
arc-
too frankly
partisans have
as clearK taking a
sw ipe
at
those
world but
in their
ow
n as well
in
the Biblical
7"/'!-
Good Samaritan,
1> ;
L-7hown aaual
size
"Hundred
reportedly
it
fetched) combines
several episodes
Matthew
from
19: the
arguing
(left);
young man
the rich
(left,
hand
on face)
who
give his
money to the
is
told to
poor.
Rembrandt
conveys
Christ as
beautifullv
conception of
his
among the
Him
slightly taller
in
and by the
hand sums
raised left
up the
of verse
spirit
14 ("Suffer
children.
little
.
to
come
who
is
approach of a
woman
carrying an infant.
The detail on
the
shows the
decisive
placement of each
stroke to achieve the
sharpness of
characterization which
helps
make
this the
Rembrandt etchings
Little
64<S
6 n)
'
t
#>!
-p
t.
L> 3i
>
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*;.
^
if
V-
'
*#***
158
VII
The
Last
Full
Measure
In the final
20 years of
his
life,
The
last full
measure of
his creativity
can be
felt
not only in his religious works and in his portraits but also in such re-
markable
lifes
still
many
repelled
as
able to
Ox
The Slaughtered
The
(opposite).
subject once
ical
The
left
side of the
shadow, and
ox
regard
in that
it is
Rembrandt
Life
comments of
uniquely Rembrandt's.
is
is
in his classic
study of the
Profes-
Rem-
that
obvious, visual
and nature
into being.
life.
are
as
.
There
combined
Rembrandt, Rosenberg
it.
the
man
They
is
up with the
are tied
no such
creative process of
earthlv
all
Dead peacocks
is
even a carcass,
as
...
in
his
Slaughtered Ox.
Because
more
usual subjects
The woman
in the background may be the
of
Dutch
still lifes.
butcher's wife.
brandt's
art,
took
its
is
in
his
anv
itself
were married
Forms,
definite or to have
certainly a Protestant
in that
would break
his belief in a
become too
in the
central to
merits examination.
He
\\
as
much
Rem-
it.
and there
particularly the
view
159
God. But
fore
to have had
much
formed Church,
the
all
than
in painting.
spiritual affiliation.
for
relating to
seem not
emotional, intuitive
in religion
Reformed Church
rationality
records place
official
likelv that
it is
svstem
rigid
is
who was
In
life,
Calvin's strictness of
entries
first
of Amsterdam, scandalized
at
dren (one
of whom
more were
so three
living, as
with the
whoredom
had
it.
in Hoererij
literally
artist,
died).
first
Hendrickje was
chil-
summons,
called. Ulti-
mately she appeared before the Council and was admonished and banned
when
lifted
soon
of the seeds of
Whv
it is
vital to
baptize infants as
full
evil.
time a
at that
its
in a direction that
indi-
is
wrote Baldinucci.
brandt,
in this case
"the
professed
of
Thev do not
elect
humble condition
just people,
and
is
he was
as
men
take their
Menno's followers
name and
who
all
good
Simons,
t>\
Sermon on
Menno
creed from
rejected
interpret the
refuse to bear
Rem-
Menisti
for so
the
and
of
The Mennonites
order.
fairly gentle.
religion
the
Mount
literally
deal of persecution.
They
the state on their freedom of conscience anil have even rejected such materialistic practices as
Rembrandt's time
lent
on Bible reading,
si-
they found "the poor in spirit" preferable to "the worldly wise and
learned." and
drew
no
social
to
them
distinctions
in
the
iod ot
men
mi
rather than
on the formidable
!alvin.
ot the
no evidence
most prominent
in his last
have approved of
its
his love
and thev would have been disturbed even more than the Calvinists by
domestic
But
affairs.
his
was
with the Mennonites. Beyond that, he seems to have lived on the fringes
of organized religion, reading and interpreting the Bible in his
personal way.
ly
Rembrandt
So-called
have essayed
in
this task
human
mav have
zarenus Rex
with a
first artist
"portraits" of
It is
all.
Rembrandt seems
(page 104).
Iudaeorum; but
Jesus of Nazareth,
was unthinkable to
classic
deepening
it
il-
Emmaus
been the
portrait
work
faces of Jews.
own
influence or his
served for
brandt
on the
meaning
who
New.
to have
artists
of Christ to
life
1661
illustrations of
life in
his
have
tender,
all
"illustra-
in all
lustrate the
most complete
its
the
in
high-
Bibles,
and drawings
own
artists in
tor."
And
Greek or
pictorially
I.
had
they
Iesus
Na-
disregarded
the
N.R.I.
King of the Jews. To the mature Remcontradict the Bible by endowing Christ
Roman
like a
at
(pages 143-145).
and
it is
hkeK
in
As
early as 1653,
mood
when
can be seen
in
state
had transformed
as
one
critic
has put
his original
is
it,
filled
one
in
the
financial disaster
The Three
falls
Crosses
on the dark
it is
above
all
5th
left
tor
of
artist,
far
It
as the
161
ere
Remhrandt 's
that he or
ionzaga, the
the extreme
the mid- 1650s a somber tone began to emerge in his religious art
this
or a Nordic face.
da)
in
on
giant cupcake
one
ot his
model
finest
for Bathsheba.
may have
thought and
feeling. In fact
be particularly thoughtful.
said to
in
surpassed
Venus on her
Botticelli's
in paint-
in expression
it
any period of
in
one of the
it
art,
of
can be
scallop shell
in
ornamental, but one shudders to think what any of them, could she
fully
fate in
which she
full
is
is
of
caught
and of the tragedy that King David's desire for her will bring.
'iblical figures
brandt in his
them was
that
final
of stature
their hours of
No
cup.
full
He came
drop of
Rem-
what seemed to
trial.
drink the
far greater
decade, and
fascinate
to understand
them
in
way
the
gall,
it is
to
was
a reflection of
in a
these lines:
It
was not
Steeped
in
moved with
the Jezvs,
Lord,
It is I,
force:
girl,
He
as
guilt, loyalty
with
God's
as
ideal,
Any man
what promise, he
9,
is
is
in
still
will
much
Samuel.
the
tear. In
is
Rembrandt's
boil
him
In
world, Rembrandt
face,
it
own
of his
at
up bv a servant
look
for
powering
frailties
You
that to You.
St.
weakness
crucified
it is I
oi
of
who
music of young
his eye,
Israel a
goodlier per
son than he: from his shoulder and upward he was higher than any of the
people." Yet Saul's end
blacks ot the
Rembrandt
tears
is
not
far off,
and he
in
superbh
stroke
The deep
prescieni
in this a pictorial
spirit''
Ins
sug
that
Not
allot
ed with
162
Rembrandt's
gloom
In
The
Sons of Joseph.
works
all his
painting
is
askew;
startlingly
lies is
its
when he
communion
human
of his
this
is
was con-
was the
figures. It
drawing" when
He
in
them
suited
it
is
fact
of their inter-
Other great
to
have
artists
do
But
so.
Rembrandt's
portraits
One
this
is
The
chant.
was a commissioned
rider
heavily
is
war hammer
Rembrandt
armed
but
as
an
able to "infidels"
be carried
far,
he
far as
carries a
was
artist
it is
its
the artist
it
known,
in his entire
RemThe
also heavilv
look of vulnerability.
1658,
in
when
"downfall"
his
was
lertainly his
collector,
Aristotle
Don Antonio
who
Ruffo,
in
The
Sicil-
1652 had
pedes-
its
would endure.
commissioned the
two
nobleman and
acquired
is
tell
If
comment.
but
still
is
who could
but
it
is
hard to
made an
men
7th Century
brandt
ian
As
portrait of an
tal,
the word.
It is
is
all
is
his
is
of these
whether
by
Homer
Rembrandt
in
an
between the
and the
Sicilian
artist,
and
what remains
attests to his
continued ruggedness of
spirit.
Ruffo
Rembrandt fought
The
Sicilian also
ished.
critics,
found
on four
sides to
make
it
a half-length fig-
would be
willing
fault
in his
view,
it
was unfin-
made bv Rembrandt's
later
165
A
,
>
it,
Rembrandt noted,
painting,
own terms.
his
made
Homer
it
he made them on
ring.
likelv that
is
scarcely suffered. In
>
is
modern
it."
particularly
"is
came through
select-
.here
to
was
in
Baroque town
.ySM5
-
i'
- "'
V-"
-*
;rt,:
commission he undertook
hall
today
the
would be
But
ry.
Roman
in
new town
hall.
as a
complex
withdrawal
ol dilapidated buildings
that
he new
in
artists
work
asked to
ot
as
one
name
1940s
it
large
enough
to
is
now
the
nation of Indonesia.)
Amsterdam town
accommodate
ceiling.
monumental
painting.
It
was decided
is
to
who must
at that
who
presumably might
replaced In
1655
overwhelm-
town
new
nettes
row of gabled
also sketched a
and
in
in the
capital of the
with
(Saenredam
mentioned
Low
the
Batavia to the capital of their East Indian colonies. (Since the Dutch
drawing above by
now
of their histo-
historian Tacitus
ly referred to
Amsterdam during
government, show
is
at
power of Rome
ing
what
of the
allies
appropriate. Julius
tribe,
They were
gave
fathers
city
its
Countries.
closer
happy outcome to
a less
home. Late
as
produced by Rubens
for
Marie
Amsterdam
officials
chose?
de'
Luxembourg Palace
for the
lier
Paris.
in
The trumpets
the
man
the
Govacrt Flinck
of
is
good
may seem
artist. It
was the
town
hall
had
it
\\
as
Rembrandt
1660.
The huge
pils
first
of the lunettes. Even this was not necessaril) an honor; the series
manner
b\
s feet.
lathers.
same
and
this
was deemed
In
Civilis (pages
164
case. Indeed.
a pupil
astonishing that he
The
subject,
next year
which
it
still
in all its
was replaced by
remains
made
rough!)
in
the
20
citj
town
hall,
by Rembrandt's pupil
Juriaen Ovens.
To Rembrandt, who by
that time
was,
It
By grim
on the
coincidence,
it
happened
Rembrandt was
that while
ill
It
will
feet
and
as "sick in
went
work
at
just as his
women were
both
likely that
is
ill
fell
make
to a notary to
appearance though
her
on her
still
active."
The importance
He
calculable.
Rembrandt
of Hendrickje to
was
his affairs;
in-
was
it
who protected him from his creditors after his bankruptcy and prohome in which he could work undisturbed. She served repeatedly
she
vided a
as his
model
life
was beginning to
slip
in
made
in
when he must
660,
away from
her, reveals a
wom-
The will
go to
And
little girl.
that
the
if
her
left
Rembrandt"
No
lo loss,
He no
art.
been made
last
his
at
richest colors
his
as
evidenced in the Jewish Bride (pages 130-13 1). In his self-portraits he unflinchingly recorded
the slow
approach of
own
his
death.
one
In
in his earliest
man who
old
Rembrandt was
still
now
it
is
it
men
of rank
and renown. Cosimo de' Medici, scion of a family that had patronized
for
200
work The
that
on Rembrandt
years, called
1667. C.
in
words
Young,
F.
for
about the
and bigotry."
One
in his
art
famous
in superstition
in brains
and sunk
artist's
among the
paintings
Rembrandt had
at
hand,
is
Another
now in
visitor
was Gerard de
resse
had become
blind,
found
in
an
1665.
artist
Some
from Liege,
years
rules
later,
art,
who
when
had
Lai-
and produced a
time
it
Lairesse,
by Rembrandt
necessary to recant
my
infallible rules
his.
."
of
art.
Lairesse
165
Rembrandt
failed to associate
with people of
"The infallible rules of art" to which Lairesse referred were the result
of the wave of rationalism that swept through Europe late in the 7th
Century and culminated in the "Age of Reason" of the 18th. In art, the
1
home
head, the
apply reason to
as art
in
all
matters
about
et
its
even those
peak
It
Rembrandt's death. By
in the
to
artists
could be as-
de
He
ers."
Piles
expression
and
in each
and
perfect 20.
B,'ecause de
Piles'
brandt was
still
fresh,
NAME
Andrea
Rem-
of
in part:
DRAWING
COLOR
10
10
12
16
COMPOSITION
del Sarto
memory
the
it is
Albrecht Diirer
when
XPRESSION
Le Brun
16
16
16
Correggio
13
13
15
12
Giorgione
18
Holbein
10
16
13
Leonardo
15
16
14
Michelangelo
17
Caravaggio
16
Veronese
15
10
16
Poussin
15
17
15
Raphael
17
18
12
18
Rembrandt
15
17
12
Rubens
18
13
17
17
Tintoretto
15
14
16
Titian
12
15
18
15
10
17
13
Van Dyck
it
will
grade of 6
in
drawing:
his
fares quite
broken outlines
counted heavily against him. But overall, de Piles rated Rembrandt 10th
in his list
of 57, and spared him the ghastly flunking grades given to Mi-
by
in color,
laravaggio in expression.
(
It
de
Piles' tabic
it
should
in fairness
be pointed
out that he and other rationalists were following the trend of their time
De
Piles
so.
Other important
had
in
in his
almost invariably had kind words for him. although these were constant-
66
ly
The
tortion.
it
only
in
human
expression of the
Is
John Milton
The
at
expression?
2 in
"Age of Reason"
dawned.
fully
figures of the
in
it.
is
it
there a
ry.
con-
Rembrandt achieved
it
word but
taeial
is
tailed to
spirit, as
The
and
De
critics
light
rules."'
in
It
7th Centu-
little-
God
aims: an understanding of
denounced
cal,
classical
in his efforts to
heart has
sand things.
This. then,
reasons,
... It
is
is
God
felt
by the
We feel
his
own
Hendrickje. he saw
it
in Titus.
His
1663,
in
it
last portrait
same
the
at
in his art.
appointments with
final
Just as
reason.
had arrived
Before
"the
thou-
in a
it
heart, not
an intellectual,
scarcely
philosopher Pas-
faith:
brandt, although
The French
observed
reject reason,
all
Regained Milton
his Paradise
lotfic as
and man. In
doom
of his son
God.
his
Saskia and
in
full
is
of sad
less
children,
and
as the true
who went
to
\\
o decades before
his death.
Westerkerk, where he w
nificent
Octobers. 166V
built in
Dutch
me
179),
of Rembrandt's
and
it
Rembrandt
peace.
But
has served
paintings
last
many
God
wandered very
far
there
is
is
some question
all
made an angry
what
in
slumber he
lies
last
home
Simeon
"Lord,
in
now
Iettest
in
standing,
Rembrandt
it
was
in
hi*,
son
itu-.
and
it
artist
ever
life,
appears that he
it
whose grave
in his
his
in
is
in
long
another
studio an unfin-
that
had
up
his eves to
Heaven and
in peace.'"
16"
'>>
on
which was
the new
parish church.
Amsterdam, and
was found
in the Temple.
Rembrandt's time
classical style,
ished painting:
["he church,
or a bitter statement.
63
whether the
his
never
Still
as buried
as to
Remhrandt
tombs of
his wife.
Ifa
particular area of
Rembrandt's painting
Although
his maturity.
it is
and
Century.
was
as
to be
their existence
in
is
was of course
really "discovered"
by
A Man
and
His Faith
9th
revelation
of this idea
two
on
new and
humanitv
lies
always
at
the core.
was not
It
as stock
conceived
known
felt
It
was
rather
of Biblical figures in
what
He
terms of individuals
In rhis detail
the
of
happened to
be,
it.
the
implacable
beginning chapter of
a narrative
of man's situation, a
68
his
in
contemporaries
which Rembrandt
as
ital
participants.
father,
those of
a
man who
sunbeam. The
tries to
move
Biblical
hands
is
made
elear
following pages
<>f
on the
\/^
J*-
&-'-W'
y^i
,^lkr-
170
is
simply
Manasseh
patriarch, enlightened
his right
by God, places
his
hand on the
his
is
he
tries to
determined
make a
it
was not
for
man
is
as
if
to intervene in
an
air
who
is
is
not mentioned
in his
656
mature
years.
The artist's
of a storv from
to be a direct expression
Batbsheba, 1654
le story ol
Rembrandt,
who
painted
it
in
the 1630s and 1640s, slowly shaping his thoughts for his
and
in
the melancholy
tilt
Rembrandt made changes in position before achieving precisely the attitude he sought)
summed up the emotions that course through her. There is a sense of loyalty to her
are
is
is
doom
turmoil, goes
that
mistress' feet.
model
for
Bathsheba; coincidentally, she bore Rembrandt an illegitimate daughter during the year
the painting
was completed.
,
172
^"-
?!3lf,
^JL
&
fe \
^0
*2*3
_v-^'
I n his late vears Rembrandt's religious paintings were often charged with a
deep sense of gloom and of awe
powerful of them
at the helplessness
before God. He
in
of
men
no sense slackened
and David shows the old king half-mad with grief because the Lord has
withdrawn His favor from him and bestowed it on voung David, the shepherd
boy who had become
king
contending with wrath, and we sense that soon the conflict will erupt in a
mad attempt at murder. Dark shadows and somber colors intensify the mood
is
of impending explosion:
on
it
seems that
and he
it" (I
in
Samuel.
weapon with
intent to "smite
8).
175
c.
16*8
David and I
debated b)
s<
holars
suggested, the
the
oi
( )t
likeliest
is
number
thai
it
to be
in
Samuel,
in
(right)
sends
foreknowledge oi
Ins
Ins fate.
dov
'riab, c
665
final
5).
gentle,
and
his
embrace
(detail,
is
166^
consummately
statement on
Rembrandt's hope
As the
and troubled
177
s>
J'ft'
*i
;.'"''
>
Ov
"^
/
Mb
4-
afe"
fesr
r
se
.-LS^
1
'
'
^-dt
'
**n
'
'
'
*s?
'<*
Bfc-*
-.
**
<
VV
i*4te&"
>?^
i^>
.V*S
A
*
-
APPENDIX
Beilona. 16??
The
brilliance unveiled
T.
in
somber
Beilona, the
ol dirt ,ind
h\ well
Roman
murk) amber
half has a
by
ai least
meaning
the painting
however,
that
The
east
two
left
demonstrates,
ISO
as
il
greys.
in
varnish
in
make
up and selected
a solvent
fell
New York
it
time.
When
the entire
cam
.is
centimeter
lower
left
corner,
doubted
bv
some
picture,
critics,
in
the
w hose
as
Copper plate
The
In
lost
956 the
art
gallerv in
for a quarter of a
in
the possession of a
shown above
The 75
in Raleigh.
known
plates,
European
1648
recovered
dozen other
in
the North
Fewer than
to exist,
all
a half-
held in
collections.
who had
1
last
exhibited
them
in a
New York
worn and
in
rinallv
It
in a
broke silence
Rembrandt's
birth.
not reveal
Humber did
in
95"6
for
that he
oi
for
<
APPI-'NDIX
Chronology:
Rembrandt's Era
Artists of
1650
1550
1700
LEIDEN
AMSTERDAM
CLAESJANS2 VISS
JAN PYN
<t
4-1631
LASTM VN
PIETEfl
1550-c 1612
I c
US H IAS 1590/91
IHOM\SDF kt>SKR
JANLIEVENS
1660
KLEVE
GOVAERT
VVILLEM K
Hi
CORNELISKETEL
15-
JAN BRLEGHEL
1619-1688
J*
1628/2!
VESMAES
IN VAN
\I)RI
JAN
630-1677
1)1
:6-l6
-1712
\| ANDERHEYDFN 16}
ME lp.DFRI HOBBEMA 16! B-1709
Til I S VAN RUN 1641 166
FRAN'S
I-
\l
IS
IIRDI MOLYN
CHAR1
159
ITALY
LODOVICOCARRA
597-1665
OH/\\N|s\ IRSPROSK
IETERCLAESZ
EUSTACHF
!%l
1661
159
62
PALI M(OKI
Ills
(.1
M
I
\l
s|
Rl
i(-|
GL 'RCTNO
1618
VAN HONTHORsjl
RIT
\
\N BAKl
Rl
III
SAI
,RI
()
\N
kill
Rl
VH
1567 1641
I)
EM AN
Willi
CARFI EAR
mis
PAULS!
I'll
UK
Ml
HI
SAM!
II
RIRFRA
1588 1652
62"
JUAN
I6X
R I'-
C.I
\NIICMX.SIK\I
1)1
1)1
V DIM
\l
1622-16*0
Nl.l \NI)
PI II R
<** 1664
I59
R\RT010MI fSTIBANMUKIIIO
*t
161
DIEGO VFLASQUEZ
ll
1
R(|N\
FRANCISCO DE ZURBtlRAN
1617 1602
HOOCH
C
(
|AN VI
DORDRI
>
MOR
i,
15!
,LTA I5f-
JL!
Dl
>".,
Nl
1541-1614
FRANCISCO f
\
ORTONA
N/ORIRN
IN
I'*
R?ORC
II
1581 -164
1591-1666
SIORI
1581 1641
PI FTIRO |)\(
<
I
ln
>
Nl
GFRARI)
MIC
RIJNI 1575-1642
BFRNAI DOSTROZZ1
1564-1651
1)1 \
1557-1602
GLIDO
16'
DRICKTERBRI C.GHI N n
DM k
DM
DOME NJICHINO
I
c 1619-1690
Bl(
FIR 16161655
BRUN
555-161')
1612-1695
LE
s|
1674
l6l>:
1607-1677
ANNIBUEC
CCI 1560 1609
ORAZIOGEN1 FSC HI c 1565-c. 1640
MICHELANGEK Ml RISI D\C \RIU
II
AGOSTINOCSRRijc
II 1661
IRK
PIFRRF MIGNAI
91-1610
CNF
MATHIEULENAtt
on 16)1
;,
Jv 1682
HAM
PHILIPPE DEI
58!
ETER SAFNREDAM
\KR\II\M
593-1652
AUDI IORRMN
CI
III
592 -1
DE LA TOUR
1584 1612
ASVANOEVELDI
1593-1641
M ILLEMCLAESZ HEDA
I
FNAIN
lojuiSI
HE XLESSEGHFRS
ES
1588-1
c-
1590-1649
JACQUES CA1.LOT
580-1666
JAN P0RCII
1610
1611-1 6>1
SIVON VOUET
JAN
HAARI M
HFNDRICKGOL IJ/ll.
FY
1593 1678
FRANCE
Jj-1707
I6H-I69:
1)1
rOBJORDAENS
1577-1641
1579-1657
568- 162
MYDERS
FRAN'S
1622 169!
JACOB V \N RLTSDAEL
PETER P UL RUBENS
1622-c 166-
II
IMCK 161'-I660
Fl
FLANDERS
1616-1680
16*5-161
GOUDA
KO INCk
1626-1679
1603/04-1677
GERRIT LL DENS
161 2-c 16
KI3M675
sink
Jan
600-165
WOi
1606-1685/84
1674
X
66?
AERTVANDERNvEFR
\\
HFEM
160;
GERRIT DOl
SISKIN DF VI IFGFR
PHI MPS
1-I6?8
)|
FERDINAND
1596 1656
JAN DAVIDSZ DE
1583-1663
NVANGOYEN
in
R\1 \N1
\I)\M
(.IIDIR 1645
SHI M
I
IO\<
571 I6l(
HIM \ON
SV*.|)R VRI
Im
!*>
|55(>
Rembrandt' i
on
The bunds
co rrespond to the
lite
>/>.;//>
of tbt artists
Bibliography
Note Since there
:
is
-Paperback
is
a selected
list
REMBRAS.DI-11H VNDWORKS
Walter de Gruvter
& Co
1964
his
artist
he Viking Press.
work
Berlin. 1966.
Emmons.
kND HISIORK
Boon. K
1963
Etchings.
Methuen and
Letters b\
in
rnest
&
Noble. Inc.
196
P.irt
Two. 1964
Renier. (j J
Mien
L nw
Ltd
in
London. 1944.
ART -HISIORK
VL
Bu KGROUND
iiber
Still-Life
ry sources.
Landsberger. Franz. Rembrandt. The Jews and the Bible Translated bv Felix
Gerson.
The Jewish
Co.. Ltd..
tinus Nijhotf.
&
Press. 1966.
Etchings of
Rembrandt
(2
vols
Phaidon
thorough treatment of
Fnedlander.
Press.
London.
1952.
Seymour. Drawings
Pupils
catalogue
Rembrandt and His Pupils. * The North Carolina Museum of Art. 1956
Rembrandt and Spinoza. Phaidon Press. London. 1957.
Visser t Hooft. VV. A.. Rembrandt and the Gospel* Translated bv K Gregor
this
avlor
phase of Dutch
homas Yoseloff
ranslat-
Inc..
1956.
Lumsden,
art.
Lev mane. Jean. Dutch Painting Translated bv Stuart Gilbert Editions d'Art
bert Skira.
vols.).
& Co
Slive.
B\< kl,KIIL\[)
Bredius.
Press.
\1
Al-
Geneva. 1956.
E. S.,
Dover
Co
rJ
London. 1958
Rosenberg. Jakob Great Draughtsmen from Pisanello
to Picasso.
Harvard Univer-
1959.
sity Press.
Rosenberg. Jakob, Seymour Slive and E. H. Ter Kuile, Dutch Art and Architec-
1600 to 1H00 The Pelican History of Art Series. Penguin Books. 1966.
Seymour. "Realism and Symbolism in Seventeenth Century Dutch Paint"
ing
Daedalus. The Journal of the American Academy of Arts and Sciences
ture:
Slive.
Summer.
962.
Van
Gelder.
J.
Abrams.
Inc..
1959
Phai-
Picture Credits
The
si
sources for the illustrations in this book appear below. Credits for pictures
in
from
left to
tispiece
\SI
91
1SDPVPERS
John R. Freeman bv
Derek
maeldegalene photo
12
The
New
Frick Collection,
DC.
York.
Eric
Schaal. 11
Dresden.
Star.
Baves
Erich Lessing from Magnum. Ill Rijksmuse Hein de Bouter. National Gallery. London
photo. 118. 119 Karel Neubert; Dmitri Kessel. 120 Eric Schaal. 121
TheMetropolitan Museum of Art photo. 122, 123 The Frick Collection.
New York. 124 Scala. 125 The Metropolitan Museum of Art photo. 126,
127 National Museum. Stockholm photo. 128, 129 Staatliche Graphische
chapters 104
34,
Rijksmuseum. Amsterdam.
Derek Baves. 53 The Pierpont
50
land.
Blauel
51
Walter
Morgan
of Birmingham.
52
Steinkopf.
ton
Foto
Fogg Art
150-153
Robert Crandall.
Cliche Musees Nationaux.
S.
Ri|ksmuseum. Amster-
161
Bv courtesy of the Trustees of
Museum. London 164 Teylers Museum, Haarlem photo GemMusea. Amsterdam photo. 167 Gemeente Musea. Amsterdam photo.
eente
169-171
Robert
S. Crandall.
the British
Robert
dam. 154-157
chapter? 158
Museum
30. 131
Staatliche
71
credit
Erich
57 Eric
15
chives.
Library photo. 54
132
Lichtbeeldeninstituut. Amsterdam photo. 136
Municipal ArAmsterdam John R. Freeman bv courtesy of the Trustees of the
140
British Museum. London.
John R. Freeman by courtesy of the Trustees
143
Eric Schaal
Robert S. Crandall.
of the British Museum. London
144, 145
The Metropolitan Museum of Art photos. 146 Rijksmuseum.
Amsterdam Ri|ksmuseum. Amsterdam; By courtesy of the Trustees of
the British Museum. London. 147
Rijksmuseum. Amsterdam Robert S.
chapter
Eng-
Derek Baves.
Lessing from Magnum. 55 Derek Baves. 56
Derek Baves by permission of the Trustees of the Chatsworth
Schaaf ^8
Settlement. S9
Derek Baves
60- Staatliche Museen. Berlin photo. 62. 63
ciivfiik
Kryn Taconis. 66 No
107
14.
John R. Freeman bv courtesy of the Trustees of the British MuLondon 47 National Gallery, London photo. 49 Heinz Zinram
Ri|ksmuseum. Amsterdam.
Bouter 44
seum.
Scala.
um. Amsterdam.
32.
Berlin.
liche
S.
Ge-
14, 15
Heinz Zinram.
Ri|ksmuseum.
Heinz Zinram
imkodlctorv fssm 6
from
177 Dmitri
Museum of Art
172.
Star.
Mauritshuis.
Karel Neubert.
Kessel.
Metropolitan
photo. 181
178,
79 Karel
Cliche
photo.
Humber.
Museum
Musees
176
180 The
Neubert.
173
The Hague
Rapho Guil-
Greenville. North
Acknowledgments
For their help
in
West
Museum
du
Auer
anil
ices
Berlin. Director
ouvre; Baroness
Museum
arolina
Irwin
\n/elevvski.
ross,
he Metropolitan
Musee
The North
Bier. Director
Musee du
Cooper, Deanna
Mu-
Madame
Staatliche
ol Art.
editors wish to
Museum
of
Professor
ol
Fine
trechi
Arts
niversit)
Stockholm;
Madame Guynei
Pechadre,
Conservateur,
Museum
Service
Musee du Louvre; H
Hamel Municipal Museum, Amsterdam. Historisch Museum de Waag, Amsterdam; Dr and Mrs Robert Lee
lumber North (arolina. Caroline Karpinski. Assistant (.urator. Print Room,
["he Metropolitan Museum ol \rt. \\ ilhclm Kohler. Staatliche Museen. West
iphique
IK4
Lutsenburg Maas,
brary, Leiden,
Hans Heinrich
Richter,
Archives,
I niversity
Director.
Li-
Fodor, Amsterdam.
Munich. State
Museum
Am-
Staatsgemaeldesammlungen,
Bayerische
Department.
he Metropolitan
Museum
ol
\rt
Index
Numerals
in italics indicate a picture of the subject mentioned. Unless otherwise identified, all listed art works are by
et
de
Sculpture. 166
brandt
(Durer). 10 x
en-
7'A.
etching. 43
traits.
-.
etching.
70. 7/
Alvin-Beaumont. 181
89
in.
126-129. 164-165;
hall.
engraving
Civilis for
62-6
of.
etchings
of countryside around.
14;
7.
art. 74.
..
Biblical
Tbe (Thomas de
Kevser). 51
74
brandt
in
in.
42-43
brandt's etchings
in,
42, 45.
traits in
Amsterdam.
Group of Spectators. 6 \*
Angel and
x 10.
tbe Prophet
Balaam. Tbe.
(I.astman).
3)4
Tbe
on
Fish.
7"/i, oil
29
57
56,
portrait of. 92
Anti-classicism.
Rembrandt's ten-
I,
Museum
brandt's time. 2
for.
tions. 112,
classical prints
Humber's
136-137. 138
Sleeping.
collection of
traits
Rem-
9. 38-'s>.
Oriental dress
142
light.
allot.
etchings.
44
70.
Roger de
in
illus-
40
;\
'
ers.
3 3.
39.
in
D. hi J and Uriah, JO
Martyrdom
oil
on
canvas,
45
"6
De
Vert,
'9
lantscbe KunstsebUders,
/07
Houbraken.
for. 39.
Rembrandt
36.
160
ot finest
in
new use
Watch
mastery
.V? -85,
Rem-
brandt
Piles.
nudes
ot.
162;
in
Caravaggio's
art.
in
Rembrandt's
art.
20- 121;
in
a masterpiece
master
of,
Rem-
105; in Self-
74;
Huvgens
traits b\
23
Lesson
The.
portrait by.
47
'
Rembrandt's
Emmaus.
b\
rhomas Anatomy
de Kevser
Christ at
of Dr Seba-
the. 22
Chalk drawings, by Rembrandt.
in
book
de Jonghe. Clement,
16
Rem-
brandt's representation oi
passion
Sun-
on canvas.
Rem-
inventory
sale of
in
and wash.
L -n
Le. treatise b\
166
Piles.
Rembrandt's
Stormy Sky
,J
in
65
68-69. 118-119
Dirck van. 39
his ass.
10.
97
Balaam and
'
of.
140; selt-portrait
de
Amsterdam.
Rem
5.
on, 42.
on Rembrandt's
Ba
>aburen.
and
work
artists
x 8, sepia
9'/t
6'4* \
64-65
of.
Civilis,
164-165
34
brandt
Three
in
Cottages before a
Rem-
rationalism
in.
frans Hals'
4^~
Copper plate
Rembrandt
Church of Notre
18
life in
Art collecting:
on canvas,
paid bv
on Dutch
influence
Wife
/.
Blinding of
lO'l", oil
Madonna
in
Conspiracy ofJulius
140
(Phillips),
Watcb
78-79;
portrait.
Crosses.
Dame, 137
portrait of.
oil
Metropolitan
66
Ashkenazic Jews. 93
Tbe
for
Banning
Anatomy
in
Tulp. 64. 75 i
group
Rembrandt's time. 22
A Woman
25
Homer. 56H
society
Bruges. Michelangelo's
Rembrandt's
Dutch
Rem-
and Child
Dr
paintings
of Captain Frans
Samson. 14-35;
Rembrandt's
in
collection of
1
Lesson of Dr
on Rembrandt's
Rembrandt
tion of
34
Museum,
brandt's etchings.
163-164;
10.
trait of.
in
critics
Composition
British
for.
of
in detail
640.
and. 180
Homer. 124
1
S iht Watch
108. 166,
ot.
Company
Assassin,
Animal drawings.
tion of. in
of
in Self-Portrait
Anatomy
in
changes
use
collec-
on canvas, 34-35. 68
oil
16s":
Tulp. 64
in
tions.
64-
40
and
commis-
135-136. 163-164
107;
hall,
Sight Watch
Color:
34:
in
elements
67
classu.il
Rem-
105.
in
in
Art
ings.
57
107
Bibles. 161
toward patrons.
Aristotle
Rem-
62. 64.
Andrada. Diego. 94
oak.
An
black chalk. 56
Prodigal
larity ot
popu-
in
on canvas.
x 73)4, oil
Si
in
etch4-
/ ;
5,
Rembrandt's understand-
Classicism
Amsterdam town
75
Lesson of Dr. Sebastiaen
Egbertsz
Christianity,
on canvas. 180
x 38)1. oil
Bernini. Gianlorenzo.
50
Hundred
on canvas.
ing,
whb
x 55/4. oil
161-162. 172-17}
Bellona.
115, 161
tbe Sick
140
55%
RemHumber.
7 almg
trayal of.
1'
Batbsheba.
Rembrandt's drawing.
90;
of.
of burghers. 23
artistic interests
Anatomy
Rem-
success
Rembrandt's representa-
town
in
L.mmauv 26
C.hrnt at
in
graving. 70. 71
Rembrandt.
1629. 39
35;
10
de
Piles.
Roger, grad:
by, 166.
IS
on Rembrandt's
45
Descartes, Rs
dl
:;
Index (continued)
Genre
Dou.
Edme
Rem-
of drawings by
Francois.
14
Rem-
by pupil. 68.
1| River,
Six's
Rembrandt.
book by Houbraken.
Group portraiture: in Dutch
of.
Rembrandt's Anatomy
Lesson of Dr. Tulp. 63-64. 75-77-
hobby
"lass engraving, a
form
as art
popu-
of
tiles tor
productivity of
group
of. in
trons of
Guild of
86-87
painters. 23
portraits. 72
St.
first state.
Company,
Neth-
role in
63
Adam
on
FIshcimer.
influence
Last-
St.
See Christ at
technique
Entombme n t
of,
,
Danae
66. 67
ir/vr\ least.
ence on Rembrandt
40
Rem-
dif-
Rembrandt's
work
in,
42-45,
ii
leopatra),
ielding
Flight
I
red chalk
quoted
Egypt, i 16?;
Homer, 42
66 67,
10
186
de. See
de kc\
ser,
Klovcniersdoclcn. headquarters ol
lor
321
i,
oil
on canvas.
Party, 12
prints ol
Don Antonio
Home
13
Lairesse,
I
decoration ol
lundred
II,
aJmg
<
luygens, Constantin, 46 47
biograph)
of, 19;
in hierarchical
artists.
96, 112.
lands' prosperity
quoted. 9|
in,
Rembrandt's an
order ol
an adaptation
Siv's play
Rembrandt's etching
Cosimo
for
14
de'. visit to
Rem-
Medusa, by Rubens. 68
Menasseh ben Israel. Rembrandt's
Rembrandt's illustrations
book by, / / S
Mennonitcv Rembrandt'- affiliation
for
S,
Metropolitan
Museum
New York
Aristotle
restoration
Michelangelo,
at the.
Rem-
nous. 17-38,
map. 21
ol \rt.
The.
Contemplat-
work on
Bellona.
\.\r\.
Militia companies, in
group por-
69
Rembrandt's Night H
collection.
'7
24
on canvas,
Monogram
i,
oil
38-39,41
Rembrandt. 21. 24
12,
ol
social Condi
19.
Rembrandt's apprentice
~
;
Mund)
'
Miereveld, Michiel
Laughton, Charles,
eiden appearance and
de Keyset's
.ltin
education
auto
180
Ihristian,
166
de, 16?
'brist
46
canvas. 30-31
Medea. Jan
of,
ol
tht Siek
lu) gens,
with a Turban. A, 65
Marten Soolmans and his wife, 64
Martyrdom of St. Matthew (Caravaggio). 10'9'4"x II '9", oil on
owned
andscapes
Dutch
plates
58
ink.
34
S'6"
4?. 181
In
I
Gerard
brandt's interest
I
Rembrandt's original
pupil,
Haarlem (I lals),
on canvas. 80. 81
at
8'2',oil
Rembrandt's etchings,
homas, 8
lumber. Robert Lee. collection
ln\ ing
with, 160-161
42 4!
I
pen and
'.
friend, 93;
Hoogh, Pieterde. 91
Houbraken, Arnold biograph) ol
Rembrandt by, 19; on Rembrandt.
quoted. 43, 92. 108: on sale of
Thomas
Thomas
Rutin, 163-164
engra\ ing, 28
i<>r
124. acquisition bv
Govaen Rembrandt's
70; selection ol
lent)
mm
linck,
9Kx
of.
\ 5
Cornells. 23
Keyser,
bv
37
of,
""
..etel.
10
Books. A. 7
Medici.
Ke
25. 38
Rembrandt's love
representation
.ist
Famil)
lol)
I,
Ruffo's acquisition ol
in.
Child, sculpture
frontispiece of,
14'
Chilis
lobbema, (Meindert, 24
etch-
Holland. 22
Rembrandt
2'i x 5K,
Man
Man
Man
23
\ %, etching.
copy of Rem-
oil
Vadonna and
Danae. 68-69
in
Lundens. Gerrit.
Michelangelo.
112
Polander. The. 2
M-
on
Rembrandt's rep-
Jews in a Synagogue.
Blinding of
style: in
Samson, 68.
Rotter-
in.
oil
at
group
68-69; Rembrandt's
High Baroque
dr\
in.
in
Home
a master of
65
72
portraits
<>t
.-
pen and
5'h x 8, bistre
Three
145
Lady Gov-
10.
brush. 57
14
42
dam
Haarlem. 80. 81
of,
18;
life of.
Night Watch,
of. in
in-
39;
Low
Jewish Bride. 47
Haarlem. 78-79;
Old Aden's
ernors of the
Emmaus
at
formation on
Hadrian
financial
Crosses.
and
Emmaus.
from
78-79
of.
Money Changer.
company
Lopez. Alphonso. 40
Emmaus.
Emmaus.
trait of militia
44,45
Luke. 138
use
Little
H,
economy, 90-91
erlands'
114, 150
officers
as pa-
IL.isi India
Rope.
Lion Resting.
Jeremiah, 42
Life
33
x 7%. etching,
9/i
41
art.
The,
Jacobszoon. Lambert. 62
mem-
Life
169. 170-171
decoration. 91
Dutch
109-111
112; land-
at
lighting in
I
in
of.
in religious paintings.
larity
unconventional treatment
wash. 50
,-
in
of.
Rem-
37:
of.
81
Rem-
78-
Dutch
79. 80.
brandt and. 47
72;
art.
140
Leiden. University
Medea. 114
ists,
15
Is-
rael's
the
by
as used
37-46
as artist in.
28
Rem-
Illustrations of
I S3
66. 113.
first state.
Rembrandt's landscape.
in
98-99
8'/ie.
113-114
10'/s
work
24-25;
in.
birth. 21
Goldsmith. Oliver. 93
art:
12
Rembrandt's
brandt's
25.
art.
number
Dutch
of. in
46
Gerrit.
Henry
popularity
for
Gersaint.
67
Dircx. Geertghe. 95
Rembrandt's assignment
the Eagle.
106"
x 26X. oil
ject.
Up by
lanymede Caught
3.
on wood. 16.
66; comparison between Rubens'
36%
23
is
\9,
Mora two
versions
of,
120. 121
of,
Rembrandt's treatment
68-69. 106
Panofsky,
rem. quoted.
71
ship
Rembrandt
39
passion lor
in
an
eiden, 24-25;
I""
65, 91
NaJaturahsm:
2
in
Caravaggio's
Dutch burgher
25; love of
with. 67-68
art.
of
Phocmx.
nature. 96
red
Netherlands:
Rem-
position in
artist's
conspiracy of
in,
economic and
social condi-
20;
Rem-
political situation in
Portrait of a Boy. 24
Carl.
/ / /
copv
for
Rembrandt's fortunes,
price paid tor. 23
North Carolina
leigh, display
figure:
double
of,
of Rembrandt's origi45.
in.
162. 172-173;
art.
Danac. 118-119.
Nude Seated
in
etching,
Mound.
6'
106. 152
first state.
Orange. House
7'..
of.
of,
Rembrandt's commissions
Amsterdam. 62. 63. 64. 133,
9-140 See also Group por-
141
traiture-
91
59-160;
Nether-
uacksalver. The.
'.
etching,
Dutch
Dutch bur-
in
the
Rubens'. 67.
etching,
first
brandt's treatment
of,
Rembrandt's personal
108-109. 130
Pancake
25. 41,
Woman. 4H
second
state.
146
Rem-
41-42. 108:
style
314,
and
Mound.
146. Phoenix.
06.
163:
1 he.
136-138. Lastman's
work
spiritual affinit)
gram
of.
in life of,
monoWatcb
in self-portraits. 8. 21. 9
Rembrandt
and
Critics,
book
bv
Sine. 110
Rosenberg. 159
at a
Window,
\ 514,
1
3,
.1
the
Emmaus.
Man
Civilis,
18
19;
Seat-
Con-
1633
the Cross, of
139. Denial
of.
16. 66,
67
Ganymede
S6;
sketch
4"
of Silver,
1652, 13,
Helmet.
of St Peter.
Stormy Sky
at
o,f
de Decker, portrait
21
7,
Conspiracy of Julius
Sam-
son. The.
3v
ot-
-rait.
35
34.
Man
witb a Gib
Marten Soolmans
laes Ruts. f
in
-"
An
tages before a
Rembrandt Drawing
i,
drawings
of
ofDl
Lesson
19,23-24 45,
number
Anatomy
in
tor,
42. 95,
A Woman
Life
of.
Tulp. The.
111-112; prices
of,
148-149;
Woman by
Great. 163
stv le,
58;
3.
14.
ith sect.
114.
life
Mennon-
a Window, 1648. 95
Leiden, earlv
in,
at
etching,
Woman.
Rembrandt
Rembrandt's land-
in
Rembrandt
114;
for,
Huygens'
136, 138.
Rembrandt's Descent
Crosi compared with
108.
self-portraits,
of.
Houbraken's description
house acquisition and sale
\ 454,
Rembrandt's mastery
ghers
23
106
from
72. interest of
66- 67
Realism:
art
of. 19;
108
44 45
he
state. 14(>
42.
Nude Seated on
critics for
Ratkillcr. The.
Polander.
Rembrandt and.
R,iMpe of Proserpine,
's
Rembrandt's collection
in
Hen
14,
Synagogue 14'
Medea, frontispiece
39.
SO; lews in a
Little
insolvency,
group portraits
popularity
Orlers.Jan. 19
Painting
financial
22. Huygens'
of,
final
ites,
146
3-
court. 66
art.
life of,
5,
Drawing
Oriental
44. film on
etching, sec-
48 draw ing
of,
identifying
Woman at
Young
3-135.
art in, 7, 13
lands. 2 2
Omval. The. 8\ \
ond state. 100
idower, The.
Seated in an Armchair.
\ 6.
Carrying a Child
Rembrandt's
Prints:
,,.
Man
64-65; number
costumes.
Walk.
S4
Toilet,
Rembrandt
34: Classicism
.
%">'.
to
tt
Protestantism:
techniques, 42. 43
a
Old
portraits.
Ho
Studies
in
Nude Scared on
of Art. Ra-
conditions and
Rembrandt's
'
on canvas.
oil
..
5<s
10;
reception
nudes of Baroque
6'/u,
i,
in
20.
Museum
in
oil
Cocq album.
downturn
painting marked
Nude
of, 2
nique, 42-45,
Stoffels as
3954, oil
Hendrickie
ol
109-1
on canvas. 132,
oil
i.
drawings
on canvas, 120
Old Age,
3334 x 27
oil on cam as.
669.
14-15
34
Portrait
Woman
94. 95.
Downstairs,
Of, 9.
167, difficulties
Nieolaes Ruts. 6!
love
121
art
Neumann.
mani 107
,,l
catalogue of paint-
30. 34,
Flora, 39
Dutch
on
oil
Diemerdijk, 98 99,
birth
3;
Portrait of a Scholar. 6
154
of
20
View ovei
cerning. 18-20. 13
.
possible
Teaching a Child
S2, 113.
Women
bio
woman
of
2(i
21
XX
canvas,
44'. \ 40'
life
oil
drawings
62 63
of,
Rem-
in
i.,
on
59
question
rean
S.
portrait in
It
attire, 9
Studies of Heads
and Figures 49, rowerofWesterkerk Amsterdam, 167; two
\m
best-know n paintings In
115
140
chalk.
Israel.
36.
ings bv
ben
140
Phillips. Charles
Andries, 106
Pels
tor,
Rembrandt's interpretation
connection
in
s<
studio
Huvgcns
letters to
89
of art criticism.
at
bair, SI;
Reading.
12C 165
urn Resting
Negro kettle-drummers on
40 Old Man Seated
back.
111; Passion
series.
Portrait of a Scholar. 6
m an
Th
6C
Portrait
horse-
satire
tit
ofHendrick)
121
Portrait
Portrait
12.
4.
Index (continued)
of Proserpine,
canvas. 9
162.
3.
humous
tion of,
in
Saskia. post-
Saul and
Hendrickje. Rembrandt's
Stoffels.
and death
mistress: illness
of, 17,
Batbsbeba. 161-162,
34
72-
mother.
death
Rem-
94; as
of,
trait of,
39, 165;
father.
of, 40
Harmen, Rembrandt's
21 possible model for The
quired bv
Money
in
74- 1 7 5
Scholar
Angel. 28;
as a
number
46;
of, 7, 2
mouthed,
Rembrandt bareheaded
c.
6 3 5, / /, 66 Shipbuilder
and His Wife, The, 64-65; Simeon
shoulder
from
light
Rembrandt
second
cap. laughing. 2 x
Self-
Portrait.
state. 8;
second
in a
etching
54,
Rembrandt
state. 8.
cap.
bust in outline, 2 x
69, 102,
over his
etching
x 3,
>
open-mouthed and
Rembrandt's
1
Bathing. 117
on wood,
21, 25.26-27.
van
Ri|n.
drawing
/i,
death
model
model
Bathing. 117
Renaissance
chiaroscuro
brandt's collection
6354 x 51
95,
62
Rembrandt's land
death
of. 17,
7%
32V
oil
on canvas.
16,
Tobias
13,
on canvas.
Rembrandt's
oi Descent
Rembrandt
Portrait,
on
canvas,
of,
Vntonio commission to
Rembrandt
x 9Vn, oil
for
Content
Iristotlc
/!//>/ /
Homer,
164
ill
on canvas.
c.1660, 4^
Tobit
on
Six Jan
Wanoab,
oj
Bartholomew
St Paul in
by, 114.
iiiiuinpLition. 4
white parchmi
Six's
Rem
Saskia, 7
106
first state.
60
60
',,.
98,
\ 8
I
',.
on
S mour
14
with a Bottle.
on
52,
Rembrandt
\nthoin
to
Ws
in,
3.
portrait by,
\
.in (
leldei
Winter Scene. 6
165
5'V>, \ 854,
\ 9Vi, oil
\,.
100
etching.
on can-
101
Bathing 24
\ 1854, oil
on
canvas, 117
Woman
Woman
39
rise in
popu-
66
u
lenry ol Orange's
Curving
!
a Child Downstairs,
I)
IN
Y,
Loung, C.
Man
Young
Candle
oil
754,
\\
ash.
ighting a Pipe
from a
rerbrugghen), 23 1x21
on cam
Young
ine goblet en
Company,
rest India
Windmill. The.
from Frederick
10
Vinck, Abraham.
on
larity of,
l*KI\
the Diemerdijk.
from
Ij
Vinckboons, David, 22
red chalk
\ 5Vtt,
,,.
Var
an Dyck,
59
I
the
Uytenbogaert, Jan. 92
etching.
\ 26)4, oil
Rembrandt's
x 954,
bistre
44
xxxxxx
88
typefounder
cut,
5'At x
s8
canvas, 158,
Slive
Teaching a Child
portrait by
silverpoim on
nl
Budge.
Titia.
94
Woman
'ffi/i
Ho
Rembrandt's wife
van Uvlenburgh.
vas,
Sacrifice
150. Portrait of
14,
View over
Angel Seghers).
the
Walk. 4
portrait,
and
Rem-
Rembrandt's mother
7 'Ax
Angel (Goudt),
the
Two Women
Temple, 167
1
and
and Anna.
3"/i6
Simons. Menno,
Rem-
on copper. 28
Sephardk Jews. 92 93
Shipbuilder and 1 lis Wife, Tbe, 64-65
m the
39
Two h\groes. 34
Two Studies of a Baby
Simeon
creditors.
Tromp. Maartcn. 90
>'
oil
I0'/s, oil
\t
arrange-
circumvent Rembrandt's
to
sister-in-law,
etching.
13; Se!/
3 7,
8' x 10"'i.
143-145
10 /i6, engraving. 28
Tobias
13.
on panel.
oil
in financial
Rijn, Saskia,
and fourth
148-149
14,
94;
plating tbe
Three Trees,
14,
135;
on canvas,
5'A.
etching.
x 39%. oil
23
Don
59
Rutin
7'A*
17"/i.
5, / /
of,
Haaring,
Jacobsz.
//. 66;
5,
27"At, oil
1658, 1954
I
Thomas
121
32
dle.
44'/u x
Rembrandt's
statue.
34 u
1
Tholinx. Arnout,
Self- Portrait.
79
c.
on canvas.
oil
I-.
on canvas.
oil
Romanticism
Man
on canvas,
Kevins, jacobus,
oil
90
10.65. Vl.Self-Portraitasa
78-
Te,
.emple.
Self-
Window.
\ 22'/ u
1631. 24'/u
44
6'7", oil
at a
Rem-
7-138
13
of,
41
in.
etching,
Drawing
art:
Rembrandt
drawing, 93;
attire,
Portrait.
ments
studio
in
94-95
will of.
8; self-portrait in
Woman
c.
Stephen,
Negroes. 134;
Danae, 68-69;
for
Two
and
137; role
as
8: in Stoning of St.
3 6. 40, 44;
69;
of.
180;
first state,
3
94; illness
of. 17,
46
of, 40,
staring,
in a
etching
1 'A.
in sharp
right, looking
bust. 2
Woman
oil
as if shouting, bust.
27 x 2'A,
121
in Flora,
Saskia,
in
Rem-
in
ac-
ings.
65;
173;
37
Rembrandt:
Self-Portraits bv
1640. 12. 89, 107, \15, SelfPortrait, 1650, 13. \15. Self-
St
brother.
Rem-
order of
graved bv. 92
Rembrandt's land-
Steen, Jan, 18
themes
Sacrifice of
in
contemplation, 41
Spaarndam,
on
74-1 75
x 64/i, oil
'
as
Woman
at llei
pen and
Toilet, 954
ash. 54
3
4
J
.