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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ange contrast with their terror.Setting aside a vulgar detail very characteristic of Dutch taste at theperiod—a passenger leaning his head over the bulwarks, whose dis-comfort is somewhat too realistically suggested—the scene is im-pressively and eloquently rendered by one who, from his native shores,had often watched the fierce onslaught of waters let loose bythe tempest. The undated David playing the Harp before Saul in the StâdelInstitute at Frankfort, is probably a work of 1633, though it may beearlier by a year or two. The king stands in the centre, grasping aspear, and listening with a wild expression on his face, to the harmoniesof the young musician, who is placed a little on one side. The vulgarfeatures of the king, the faulty drawing of his hand, and a certainheaviness in the execution have raised doubts as to the authenticity ofthis work, which the Catalogue ascribes to S. Koninck. But the Study for the Philosopher in the Louvre (l6jj). Red Chalk, (BKRI.IN IBlNT ROOM.)
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Printed by Draeger & Lesieur, Paris PHILOSOPHERS ABSORBED IN MEDITATION 153 quality of the light, the expression on Sauls face, the fine harmony ofhis red mantle and the cool grays that prevail throughout the picture,and finally the handling itself, which closely resembles that of otherearly works, all sanction Dr. Bodes restitution of this example to themaster. Rembrandt treated the theme again in later years, on a moreimportant scale. No question can possibly be raised as to the two small panels of this date in the Louvre,the pair of Philosophersabsorbed in Meditation.The more remarkableof the two, No. 408 inthe Catalogue, suffers tosome extent from anexcrescence it couldhave dispensed with :a woman in the fore-ground to the right,who is stirring the em-bers in a wide fireplace,evidently a pretext forthe rendering of naturaland artificial light injuxtaposition, and theircombined reflections.The episode, however,is by no means obtru-sive, and scarcely dis-tracts our attention fro

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