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Rembrandt, his life, his work and his time (1894) (14774546891)
Summary
Identifier: rembrandthislife01mich (find matches)
Title: Rembrandt, his life, his work and his time
Year: 1894 (1890s)
Authors: Michel, Emile, 1828-1909 Simmonds, Florence Wedmore, Frederick, Sir, 1844-1921
Subjects: Rembrandt Hermanszoon van Rijn, 1606-1669
Publisher: London : W. Heinemann
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University
Text Appearing Before Image:
d the question ina study recently published in Holland,1 and tells us why and whenthis act of vandalism was committed. He learnt from documentsamong the archives, that the Night Watch was placed in the Hall ofthe Musketeers Doelen in T642, and was eventually removed to theTown Hall of Amsterdam. The transfer was decided upon in 1682,but was deferred on various occasions, and was not finally accomplishedtill May, 1715. It was then the mutilation a contemporary picture-restorer has recorded took place. J. van Dyck, in his description ofthe pictures in the Amsterdam Town Hall,2 remarks, that in order tosuit the picture to the dimensions of its appointed place between thetwo doors of the small council-chamber, it was found necessary tocut off two figures to the right of the canvass, and part of the drum to 1 See the periodical, De Gids (1890). 2 Kunst en Historiekundige Beschyring von aile de Schilderyen op het Stadhais teAmsterdam, 1758. Ci Ci ï * •°0 «ù S
Text Appearing After Image:
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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.