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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:
o suggest thedignity of leonine movement and expression. There are others,however, in which the types and forms are most admirably rendered,as, for instance, M. Bonnats studies of two crouching lions, formerlyin the Russell collection in England, where they were the admirationof Landseer ; the lion with eyes voluptuously closed, gnawing at abone between his paws; the study in the British Museum, of a lionemaciated by long captivity, whose mournful air and rcsio-ned 1 Studien, p. 499, Dr. Bode saw this portrait in Vienna, whither it had been sent byits owner for restoration. 2 There are examples in the pubHc collections at Berlin, Dresden, Frankfort, Munich,in the Albertina, the Louvre, the British Museum, the Teyler Museum, and in thecollections of Messrs. Heseltine, Bonnat, Dutuit, ,:c. 288 REMBRANDT dignity of bearing agree so perfectly with the Latin inscriptionwritten below the sketch : Jam piger et longo jacet exarmatus ab oevo ;Magna tamcn facies et non adeunda senectus.
Text Appearing After Image:
T O B I r BLIND. T651 (B. 4-)- The two studies of lionesses, one eating, the other sleeping, also inthe British Museum, are no less remarkable. The large curiosity, the love of nature and of life so character-istic of Rembrandt, were important factors in his art-teaching at 1^/
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.