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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d himself, withSaskia sitting on his knee. So fragile and dainty is the littlebride that she looks a mere child, in spite of her twenty-two years, andher delicate charm is enhanced by contrast with Rembrandts robustmanhood. The artist is seated in a chair, dressed in a militarycostume, and brandishes a long glass of sparkling wine in his righthand. With his left, he clasps his wifes waist. Saskia wears a rich,but somewhat fantastic dress. Her sweet, fresh face is turnedtowards the spectator. Before them is a table covered with an Easternrug, on which are a plate, and a raised pie surmounted by a peacockwith out-spread tail. Rembrandt, whose eyes are slightly misty,laughs aloud, displaying both rows of teeth, and shakes his flowinghair. Saskias face looks smaller than ever beside his great head ; shemight be a fairy in the grasp of a giant, confident of her own power,trustful and happy in the love she has inspired. Her expression is Rembrandt and Saskia (about 1635). (DRESDEN GALLERY.)
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Printed by Eudes & Chassepôt, Paris (France) REMBRANDT AND SASKIA 183 calm, and she seems rather astonished than amused ; the faintestsuspicion of a smile hovers about her lips. As to the master himself,his noisy gaiety is rather forced ; the part he plays seems to involve acertain degree of effort. It is evident that such junketings are notusual with him ; that he is a man of sober habits, attractedby the picturesque aspect of the scene, rather than by its appeal togluttony and sensuality. The exquisite distinction of the harmony,made up of subdued reds and dull greens, the softness and delicacy ofthe chiaroscuro, the sedate and accurate execution, seem to enter aninvoluntary protest against Rembrandts choice of subject. It is difficult here to avoid an invidious comparison with Hals ; weimagine the devil-may-care vigour with which he would have endued suchan episode ; and recall his rollicking picture of Ramp and his Mistress)There, no shadow of constraint or of shame-facedness

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