Identifier: netherlandgaller00prey (find matches)
Title: The Netherland galleries : being a history of the Dutch school of painting, illuminated and demonstrated by critical descriptions of the great paintings in the many galleries
Year: 1912 (1910s)
Authors: Preyer, David C. (David Charles), 1861-1913
Subjects: Art museums Painting
Publisher: Boston : St. Botolph Society
Contributing Library: Boston Public Library
Digitizing Sponsor: Boston Public Library

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rmony. Red in itself is notbeautiful, neither is gray, a neutral colour, but to-gether, with a little gilt, they form here the mostexquisite combination in the world. It is a mostwonderfully refined product, in which Rembrandthas summarized his gigantic powers. Smith in hisCatalogue Raisonne dates the painting as of 1644,but Bode gives it, on account of the colour andhandling, to his later years, or about 1660. Alongside of this portrait even the counterfeitof Anna Wymer, the burgomasters mother, paintedtwenty years earlier, must retire to another rank —it is nevertheless Rembrandts finest womans por-trait, and surpasses the famous Elisabeth Bas,of the Ryksmuseum, in the charm — the Germanswould call it Gemuthlichkeit — of its expression.The portrait of Doctor Ephraim Bueno, a Portu-guese Jew, is the smallest painting by Rembrandt,being only 8 inches in height. Notwithstanding itssmall size we find the handling fat and juicy, whilethe colour is warm and rich. It is of remarkable
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©tber Bmsterfcam Galleries 297 vitality. A sketch in brown and white of a bib-lical subject, Joseph explaining his Dreams, isof large brushing and of ample expression. Rem-brandt made one of his best-known etchings afterthis sketch. I will annotate first some of the portraits foundhere. They are of varying importance. The Miere-velt portraits of William, the Silent, and of hisfourth wife, Louise de Coligny, are not in his bestmanner. They are somewhat hard, and lack thefacility of execution and the alto-relief, which theartist acquired in his later years, as seen in his por-trait of Simon Swaen, done when the artist hadreached his sixty-ninth year. Although an uglysubject, it is exceedingly attractive for its execution— the eyes of the old cavalier glisten with vitality.Dr. Nicolas Tulp, of Rembrandts Anatomy Les-son, was the father-in-law of Jan Six, and four ofhis portraits are found here by different artists —by Cornells van der Voort, Nicolas Elias, FransHals and Jurriaen Ove

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