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

View Book Page: Book Viewer
About This Book: Catalog Entry
View All Images: All Images From Book
Click here to view book online to see this illustration in context in a browseable online version of this book.

Text Appearing Before Image:
effectscharacterise the subject, and bring out its essential elements of thesublime and the unexpected. Effects of light Rembrandt had alreadyturned to picturesque account on many occasions ; but never beforehad he won them to such significant expression of his thought. Hereagain that attentive observation of nature he had so successfully 1 We saw a slightly modified version of the Louvre picture not long ago in Paris, theAngel turned towards the spectator, with arms outstretched to the front. The dog is alsodifferently treated. But though this picture figures as a replica by the master in SmithsCatalogue, we cannot accept it as the work of Rembrandt. In our opinion the heavinessof the handling and of the gradations, the harsh reds of the carnations, and the want ofsubtlety in the chiaroscuro, betray the hand of a pupil. <to •^ -m k ^ - *s M3 ^ ^ ci* ^O r** S 1 v- l b <5J ^ :& ^ ^ t^ ,G k (J. (2 le .«-5 ^ ^ K$J E-o .« .« r*4 ÇNJ V ^v g .<3 *-ç> r^- CN
Text Appearing After Image:
THE CHIAROSCURO OF REMBRANDT 233 practised in his studies of colour bore rich fruit. Chiaroscuro, as wehave pointed out, had occupied him very early in his career ; hisresearches in this connection had been steady and extensive. Of thiswe shall find innumerable proofs in his drawings of this period. Hefound subjects for experiments in his own home, in his neighbourshouses, in the barns and cattle-sheds he met with in his walks aboutAmsterdam. He loved such interiors, in which the daylight is concen-trated, throwing out vivid rays here and there, whilst all the detailsround about are veiled in partial shadow. The painter carefully notedall these contrasts and modulations. With such effects he learntto build up a composition, using them as others before himhad used line and colour. In this novel treatment of light, which hehad now completely mastered, he found endless resources. Infinitepossibilities opened up before him through the medium of thatmarvellous element, which lends itself t

Note About Images