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Summary
Identifier: rembrandthiswork00burn (find matches)
Title: Rembrandt and his works: comprising a short account of his life; with a critical examination into his principles and practice of design, light, shade, and colour. Illustrated by examples from the etchings of Rembrandt
Year: 1849 (1840s)
Authors: Burnet, John, 1784-1868
Subjects: Rembrandt Harmenszoon van Rijn, 1606-1669
Publisher: London, D. Bogue
Contributing Library: Getty Research Institute
Digitizing Sponsor: Getty Research Institute
Text Appearing Before Image:
certainwhat became of him after his bankruptcy, or where he died; a search hasbeen made among the burials at Amsterdam, until the year 1674, but hisname does not occur; probably Baldinucci is correct in stating that he diedat Stockholm, in 1670; others have mentioned Hull, and some give a cre-dence to his having fled to Yarmouth, during his troubles, and mention twopictures, a lawyer and his wife, said to have been painted there; they arewhole lengths, and certainly in his later manner, but I could not gather anyauthentic account to build conjecture upon, as the intercourse betweenAmsterdam and Yarmouth has been kept up from olden time, and a Dutchfair held every three years on the shore. The ancestors of the family inwhose possession they still are, may have visited Holland; but, amongstsuch conflicting opinions, it is useless to attempt elucidation of the truth cfthis. We may rest certain that his works will be appreciated in proportionas a knowledge of their excellence is extended.
Text Appearing After Image:
REMBRANDT. 7 Legal Receipt and Discharge, given by Titus Van Ryn, for theBalance of the Estate of his Father, Rembrandt Van Ryn. Good for GIs- G952—9.the 29.7bre—Willeni Muilm. I the undersigned acknowledge to have receivedof the said Commissaries the undermentioned sixthousand nine hundred and fifty-two Guldens nineStuivers, the 5th Novemher, 16G5. Extract from t/te Book of Suretiesof Real Estates remaining attlie Secretarys Office of the Cityof A mstenlam, fol. 89, fyc. Received the contents,Titus Van Ryn. 2207 : a 3 : 3(Stamp) . Before the undersigned Magistrates appeared Titus VanRyn, the only surviving son of Rembrandt Van Ryn and ofSaskia Van Uylenburg (having obtained his veniam aetatis),as principal, — Abraham Fransz, merchant, living in theAngelier Straat, and Bartholomeus Van Benningen, woollen-draper, in the Liesdel, as guarantees. And jointly, and eachof them separately, promised to re-deliver into the hands ofthe Commissaries of the Insolvent Estates, when called up
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.