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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h both execution and signature seemto us to confirm the attribution to Rembrandt.1 The frankness ofthe illumination, the simplicity of the composition, which centresin one happily arranged group, the despair of the old man,even the gestures of the brothers, and the eagerness with whichthey note the workings of their lie in their fathers face, allproclaim the master, and we should look in vain among his pupilsand disciples for an artist capable of carrying out such a conception. 1 This signature, Rembrant van Eyn, connects the designation van Rynx which theartist affected in 1632, with the form of the name in which the d is omitted, as it appearsfor a time from 1633 onwards. The etching, therefore, probably belongs to the end of1632 or beginning of 1633. PAINTINGS INSPIRED BY THE BIBLE 193 Other less important plates, such as the Little Flight into Egypt(B. 52), The Tribute Money (B. 68), The Crucifixion (B. 80), and theMartyrdom of St. Stephen (B. 97), are only noteworthy by reason of
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i«^?« muTOal (jCu.fa(di mà&ium,.t%ti lasrvOujm ^fêetVi*, aJlaxwii PORTRAIT OF UVTENUOGAERD.1635 (B. 279). their picturesque qualities. We have already spoken of the GoodSamaritan (B. 90). In the little Disciples at Emmdus (B. 88) and theso-called Samaritan Woman with Ruins (B. 71), both of the year1634, the Christ has much the same characteristics. It is a type of vol. 1 s I94 REMBRANDT singular energy, and whether seated at the modest meal at Emmâus,or on the edge of the well by which the Woman of Samaria stands, Hisgaze at the two apostles who have just recognised Him, and at theyoung woman who hangs upon His words with eager eyes, is full ofthe same commanding magnetism. But the air of somewhat sternauthority and power that marks Rembrandts conceptions of theSaviour at this period, is better exemplified in a Christ driving theMoney-changers from the Temple, of 1635 (B. 69). This was a subjectoften treated by Rembrandts forerunners, the early Dutch andFlemish masters, who t

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