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Summary
Identifier: frick-31072002097360 (find matches)
Title: A descriptive and illustrated catalogue of 150 paintings by old masters of the Dutch, Flemish, German, Italian, Spanish and French schools (electronic resource)
Year: 1911 (1910s)
Authors: F. Kleinberger Galleries (New York, N.Y.)
Subjects: Painting
Publisher: New York : (s.n.)
Contributing Library: Frick Art Reference Library
Digitizing Sponsor: Metropolitan New York Library Council – METRO
Text Appearing Before Image:
58. Rembrandt Harmensz van Rijn. REMBRANDT HARMENSZ VAX RIJN (Leyden t6o6 — r66g Amsterdam) 59. — Head of Christ. Dr. W. Bode in his work REMBRANDT . Vol. VI, N° 414,describes this painting as follows : * With long dark hair and short heard. The dark eyes arecast down. His head is turned to the right. The coat of a brow-nish-red colour leaves the margin of the shirt free. A strong lightfalls from the left on the right upper-part of the face. Dark back-ground. •• Life-size head painted about i65g. Canvas. i8,5 inches, by 14,5 inches. Described by Dr. ISode in his work Rembrandt, Vol. VI, N 414. Dr. Bode « u Studien zur Geschichte der holl&ndischen M.ilcrci. pp. .S22. 5<r. V 295;Dutuit, page 5i, V 78;— Michel, page 563; in - The Ureal and the little Old hutch Masters . Paris, 1911;Exhibited in Amsterdam in (898; in the Salles du Jeu de Paume* in the Tuileries, in Paris,Ha 1 :From the Collection of the late Maurice Kami. Paris. - 74
Text Appearing After Image:
5(). — Rembrandt Harmensz van Rijn. REMBRANDT HARMENSZ VAN RIJN (Levdcn (£06 — 1669 Amsterdam) 60* Portrait of a Rabbi* Turned slightly to the left, he has upon a white cap a big brow-nish-black baton his head. His eyes are cast down. He has amustache and a long brown beard. His coat is ofa reddish colour.parti) «>pcn on the breast, where his right hand reposes. Appa-rently painted about i65o after the same model, which he has paintedin a bigger size in i65i : the picture of which is now owned byCount Wachlmeister in Vannas (Sweden). —(Letter of Dr. Bode.) Panel; to inches, by 9 inches. Described in - The Crc.it and the Lille Old hutch Masters, Paris, 1911 ;Exhibited in the Salles du Jeu de Ianme . in the Tnileries. in Paris. (Oil.
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.