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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:
objects, may challenge comparison with anyinvention in the whole circle of art, both for the splendour and sweetness ofeffect, which nothing can exceed, and for its happy appropriation to theperson of Him who was born to dispel the clouds of ignorance, and diffusethe light of truth over a darkened world! Now, this work Rembrandtmust have seen, or at least a copy from it, as his treatment of the same sub-ject, in the National Gallery, indicates; but the poetry is lost, for it wouldbe impossible to imitate it without a direct plagiarism. It may, however, havegiven a turn to his thoughts, in representing many of his subjects under theinfluence of night in place of day, such as his Taking down from theCross, by torch light; his Flight into Egypt, with the lantern; the Burial of Christ, &c. While other men were painting daylight, he turnedthe day into night, which is one of the paths that sublimity travels through.The general idea most people have of Rembrandt is, that he is one of the
Text Appearing After Image:
CHIARO-SCURO. 33 dark masters: but his shadows are not black, they are filled with trans-parency. The backgrounds to his portraits are less dark than many ofeither Titian or Tintoret. His landscapes are not black, they are the softemanations of twilight; and when he leads you through the shadows ofnight, you see the path, even in the deepest obscurity. As colour forms aconstituent part of chiaro-scuro, I must, in this division, confine myself moreparticularly to black and white, both in giving examples from his etchings,and explaining the various changes he made upon them in order to heightenthe effect. The etching I have here given is the Nativity, in the darkeststate; in the British Museum there are no less than seven varieties, andthe first state is the lightest. But in order to render his mode of proceedingmore intelligible, I shall explain the progress of his working. His firstetchings are often bit in with the aquafortis, when the shadows have butfew ways crossed with the etchin
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.