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Zusammenfassung
Identifier: rembrandthislife00mich (find matches)
Title: Rembrandt : his life, his work, and his time
Year: 1903 (1900s)
Authors: Michel, Emile, 1828-1909 Wedmore, Frederick, Sir, 1844-1921
Subjects: Rembrandt Harmenszoon van Rijn, 1606-1669
Publisher: London : Heinemann New York : Scribner
Contributing Library: University of California Libraries
Digitizing Sponsor: Internet Archive
Text Appearing Before Image:
J\))-hai( of Saskia (i(\^s). Lcail IViicil. (mCKLIN PRINT ROOM.) SASKIA STUDIES AND PORTRAITS 137 directly or indirectly suggested by her. Just as in earlier days he hadmade use of himself and of the various members of his family, for hisstudies, he now took full advantage of thecomplaisant model by hisside. We recognise Saskias type in a picture, recently bought by
Text Appearing After Image:
THE JEWISH BRIDE. 1634 (Hermitage). M. Sedelmeyer in England. It belongs to this period, but isdisfigured, unfortunately, by several repaints. The likeness to Saskiais more apparent in the picture at the Prado, Madrid, siorned anddated 1634.^ It figures in the Catalogue 7)^^ Artciuisia rccciiing the ^ This signature and date are written in white, as in the so called yiTt/V/t Bride of theHermitage, which belongs to the same year. 138 REMBRANDT Ashes of Maiisolus, and the title Cleopatra at her Toilet has also beensuTcrested. The scene is, in fact, somewhat enigmatical ; but webelieve it to be probably some episode from Scripture that isrepresented; Bathshcba, the Bride of Tobias, or Judith, wouldperhaps more aptly describe it, as Rembrandt rarely drew his subjectsfrom profane history, and showed a marked preference for sacredthemes. The young woman, whoever she may be, is turned full tothe spectator, and brilliantly illuminated. One hand is laid upon herbreast, the other on a table cov
By the last decades of the 16th century, the refined Mannerism style had ceased to be an effective means of religious art expression. Catholic Church fought against Protestant Reformation to re-establish its dominance in European art by infusing Renaissance aesthetics enhanced by a new exuberant extravagance and penchant for the ornate. The new style was coined Baroque and roughly coincides with the 17th century. Baroque emphasizes dramatic motion, clear, easily interpreted grandeur, sensuous richness, drama, dynamism, movement, tension, emotional exuberance, and details, and often defined as being bizarre, or uneven. The term Baroque likely derived from the Italian word barocco, used by earlier scholars to name an obstacle in schematic logic to denote a contorted idea or involuted process of thought. Another possible source is the Portuguese word barroco (Spanish barrueco), used to describe an irregular or imperfectly shaped pearl, and this usage still survives in the jeweler’s term baroque pearl. Baroque spread across Europe led by the Pope in Rome and powerful religious orders as well as Catholic monarchs to Northern Italy, France, Spain, Flanders, Portugal, Austria, southern Germany, and colonial South America.