Identifier: rembrandthislife01mich (find matches)
Title: Rembrandt, his life, his work and his time
Year: 1894 (1890s)
Authors: Michel, Emile, 1828-1909 Simmonds, Florence Wedmore, Frederick, Sir, 1844-1921
Subjects: Rembrandt Hermanszoon van Rijn, 1606-1669
Publisher: London : W. Heinemann
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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the minds of his contemporaries.Simultaneously with these pictures, Rembrandt evidently produced alarge number of drawings. But, unfortunately, most of these are eitherlost or scattered in different collections under false attributions. Veryfew are known to us. One is a sketch in black chalk, belonging to theHamburg Museum. The subject is the head of a youth, resemblingRembrandt himself, with a very brilliant effect of light. Another, inthe British Museum, is a sketch in Indian ink, made with a few strokesof the brush. It represents the artist in a braided tunic, and isreproduced in an etching of 1629. Rembrandt no longer confined himself to drawing and painting ;his first etchings appeared in 1628, very little later than his firstpictures. As in these, he took himself for a model in his etchings,and never tired of experimentalising on his own person for purposesof study. It was a habit he retained throughout his career. With Portrait of Rembrandt (about 162g—1630). (HAGUE MUSEUM.)
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Pfinîed by Eudes 8c Cha âsepol, Pana (Trance ) HIS FIRST ETCHINGS 33 himself for his sitter, he felt even less restraint than when hisrelatives were his models, and this ensured an endless variety in hisstudies, and absolute freedom of fancy. Exact resemblance was nothis aim in these essays. They were studies rather than portraits.We shall therefore find great diversities in these renderings of hisown features, diversities determined by the particular object he hadin view at the moment. The artists type is, however, so character-istic that it is impossible to mistake it. In the course of 1630and 1631he produced no less than twenty etched portraits of himself. Thesewere preceded by a plate bearing the date 1629, with the monogramreversed. It is an exact reproduc-tion, both as to attitude and cos-tume, of the drawing in the BritishMuseum already mentioned. Thecomposition is, however, reversed.The execution of this Bust poi-trait of Rembrandt (B. 338) issomewhat coarse and hasty ; cer-

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