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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:
tic dress. Her sweet, fresh face is turnedtowards the spectator. Before them is a table covered with an Easternrug, on which are a plate, and a raised pie surmounted by a peacockwith out-spread tail. Rembrandt, whose eyes are slightly misty,laughs aloud, displaying l)()th rows of teeth, and shakes his flowinghair. Saskias face looks smaller than ever beside his great head ; shemight be a fairy in the grasp of a giant, confident of her own power,trustful and hai)py in the love she has inspired. Her exi)ression is I40 REMBRANDT calm, and she seems rather astonished than amused ; the faintestsuspicion of a smile hovers about her lips. As to the master himself,his noisy gaiety is rather forced ; the part he plays seems to involvea certain degree of effort. It is evident that such junketings arenot usual with him ; that he is a man of sober habits, attractedby the picturesque aspect of the scene, rather than by its appeal togluttony and sensuality. The exquisite distinction of the harmony,
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THE BLRGOMASTER PANCRAS AND HIS WIFK. About 1635 (Buckingham Palaci). made up of subdued reds and dull greens, the softness and delicacy ofthe chiaroscuro, the sedate and accurate execution, seem to enter aninvoluntary protest against Rembrandts choice of subject. It is difficult here to avoid an invidious comparison with Hals ; we imagine the devil-may-care vigour with which he would have endued such an episode ; and recall his rollicking ^iciuvno^ Ramp and his Mistress) There, no shadow of constraint or of shame-facedness is to be found. 1 Now in the possession of the Comte de Pourtales in Paris.
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.