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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gned, and dated 1641, like the Large Landscape, with a Mill-sailseen above a Cottage (B. 226) with which its analogies are verymarked, not only in choice of motive, but in treatment and dimen-The methods used to indicate distance—especially to the left sions. of the first-named plate—and those employed in the foreground are 1 The forms of the R and the b in the signature, and of the 4 in the date, are verycharacteristic, and are exactly reproduced on various other plates of the period, notablythat of the Man with a Crucifix and Chain (B. 261), another work of 1641. REMBRANDTS MILL 3»7 identical with those of the undisputed plate, and a like facility andknowledge of effect in each, seem to proclaim them fruits of thesame stage of progress. The plate known as Rembrandts Mill (B.233). which is signed and dated like the above, is still more remarkablefor the vigour of the drawing.1 The absence of vegetation detractssomewhat from the interest ; but the character of the crazy buildings
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A VIEW OF OMVAL. 1645 (B. 209). is indicated with extreme precision and firmness. It is hardlynecessary to remark that the title rests on no sort of foundation, and isbut another example of those arbitrary designations so often noted inthese pages. The Cottage with White Pales (B. 232) is marked by thesame sobriety of technique, but shows considerable progress in thetreatment of foliage, and achieves an effect of great reality by very 1 In composition it is, however, without the balance of a picture. Its reptitatiofi isperhaps by this time on the wane.—F. W. 3i8 REMBRANDT simple means. But Rembrandts claims to rank among the greatmasters of landscape were first made good in the famous piece knownas the Three Trees (B. 212). In this impressive plate, every detailsuggests conflict and struggle—the fitful gleams of light, the denseshadows that gather menacingly round them, the plain on which thewaters are about to descend in floods, the trees, stretching out gnarledbranches, stripped

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