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Summary
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:
^ THE GOOD SAMARITAr*. Pen drawing (Berlin Print Room). the Gospel narrative casts a furtive backward glance at the suffererhe has left to perish. The harmony, made up of warm browns, yellows,and russets, is sustained and powerful, and the somewhat harshexecution broad and free. In the Louvre picture, painted some nineyears later, as in a beautiful and most luminous sketch purchased byM. Sedelmeyer,^ Rembrandt returns to his first conception. But hisartistic progress may be measured by the modifications to which hehas subjected his composition. The sun is sinking, and the dying rayslight up the group at the door, where the wounded man is lifted 1 Formerly in Mr. Henry Willetts collection. It is a night-scene, the actiontaking place by torchlight, which gives occasion for various happy effects of chiaro-scuro.
Text Appearing After Image:
rH id CHRIST WITH THE DISCIPLES AT EMMAUS 53 from the horse amidst the excited spectators of his arrival, and borneto the inn. His saviour, purse in hand, recommends him to the careof the hostess. How can we more fitlv describe the scene than inthe eloquent words of Fromentin .^— the man is barely alive; his
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.