Contents and List of Pictures Portrait Of

CONTENTS AND LIST OF PICTURES ' S . Fronti zece. PORTRAIT OF REMBRANDT . PAINTED BY HIM ELF gp CIE . FROM PHOTOGRAPH BY MAISON AD . BRAUN PAGE INTRODUCTION E T ’ CH AS T T I . ON R MBRAND S ARACTER AN AR IS ON K E II . BOO S OF REFERENC D E HE O TH COL III. HISTORICAL IR CTORY OF T PICTURES F IS LECTION xiii E T E HE P P EV E T REM Iv. OUTLIN ABL OF T RINCI AL N S IN BRANDT ’S LIFE ’ O O v . SOME OF REMBRANDT S FAM US CONTEMP RARIES IN HOLLAND P VI . FOREIGN CONTEM ORARY PAINTERS I C B W ESTLIN W IT THE AN EL . JA O R G H G A Z H F PICT URE FROM PHOTOGR PH BY FRAN AN S TAEN GL . II IS EL BLESSIN THE S NS OF JOSEP—H . RA G O PICT URE FROM PHOTOGRAPH BY FRANZ HAN FS TAEN GL III THE AN EL AEL LEA I EAMILY OF . V N THEL G RAPH GL TOBIT D PICT U RE FROM PHOTOGRAPH BY MAISON A . BRAUN CIE THE RAT KILLER PICTURE FROM ORIGINAL ETCHING IN THE MUSEUM OF F E B T IN ARTS , OS ON THE PHILOSOPHER IN MEDITATION O AD PICTURE FR M PHOTOGRAPH BY MAISON . BRAUN CIE THE GOOD SAMARITAN PICi‘ t E FROM ORIGINAL ETCHING IN THE M USEUM OF F A B 33 INE RTS , OSTON 37 ” M “ ” ‘ — PICTURE FROM PH OTOGRAPH BY FRANZ HAN FSTAEN GL 39 E VIII . CHRIST PR ACHING 43 PICTURE FROM ORIGINAL ETCHING IN THE MUSEUM OF FIN E PICTURE FROM PHOTOGRAPH BY MAISON AD . BRAUN C ONTENTS AND LIST OF PICTURES PORTRAIT OF SASKIA PICT URE FROM PHOTOGRAP H BY FRANZ HAN FSTAEN GL HE S E OF THE "I . T ORTI CIVIC GUARD O A PICTURE FROM PHOT GRAPH BY MAISON D . BRAUN CIE I T AIT OF JAN SI" "I . POR R PICTURE FROM ORIGINAL ETCHING IN THE MUSEUM OF F N A B I E RTS, OSTON F " O . III . PORTRAIT AN OLD W OMAN H H M B PICTURE FROM P OTOGRAP BY AISON AD . RAUN CIE "I E V. TH SYNDICS OF THE CLOTH GUILD PICTURE FROM PH OTOGRAPH BY FRANZ HAN FSTAEN GL " THE EE EE V. THR TR S . PICTURE FROM ORIGINAL ETCHING IN THE MUSEUM OF F A B INE RTS , OSTON " THE VI. PORTRAIT OF REMBRANDT(S ee PRONOUNCING VOCABULARY OF PROPER NAMES AND FOREIGN W ORDS INTRODUCTION I ON E ’S H E AS AN S . R MBRANDT C ARACT R ARTI T A GEN ERAL impre ssio n prevails with the large pict ure lo vin g public t hat a spe c ial t rain in g is n e ce ssary t o an y n H i he o f h f R mbra dt . e s t o t e . o er a e c at o n o , pr p ppr i i e id l f c o n n o isse ur be his supe rb mast e ry o t e chn ique , h o f hi m e s To o man st an d quit e witho ut t e pale s ad ir r . y ' pe o ple , accept in g this as a dictum , t ake n o pain s t o make n n h ut c m It m a b the ac quai t a c e o f t e gre at D h ast e r . y e ’ t hat they are repe lled at the o ut set by Re mbran dt s in dif _ His pict ure s ‘ Al his t ast e , Raphael pe o ple s his c an vas e s wit h be aut u c e at u e s of an o t e e a m Re ib an dt dra S if l r r h r r l , g r ,. S om the c ommo n wo a out us In I rld b . plac e “ m ‘ m ’h m “M fi R w flw M N m w w w b fi fla mm w o f the fair women an d c harmin g childre n W i th W ho m Ra hael e t s uS he cho os e his mo e s ro e -M o p d ligh ,\ S d l f m. wrinkl d ld men an d r m n begga s . ZRe bra dt 1s n e ve rthele ss a po e t an d a Vl SIo n ar in his o wn wa s c a h ub y y . phy i l beauty e S stit ut e s mo a e x s s on s s Fr e n t ’ m t h fit r l pre i , ay om nn If e rs N N W N glan ce at his pict urewe see on ly a t ran script o f commo n REMBRANDT life , a se co n d lo o k disc o ve rs some thin g in this c ommo n i e n e ve e o e se en t e l fe that we hav r b f r h re . W e lo o k h mm n again , an d we s e e be hin d t e c o o plac e ext erio r t he n n e A v s o n o f t he po et ry o f the i er lif . i i ide al ho ve rs just beyo n d the re o f w ‘ ‘ ' m Ii em ran t e co m e s t o t e wo rld . R b d b us h Raphael aS be e n surn am e d the divin e , fo r the go dli ke i ‘ be auty of h s c re at io n s , so Rembran dt is the hu fo r his s m athe t c n s t n t o he ve s o f his e o w y p i i igh i t , li Mll me n . ‘ “ " r Even fo r tho se who are Slo w t o c at ch the highe r m ean ’ ufimlf Bea in f Rem an t s wo r t e e Is st ll m uc t o en t e t n br d k, h r i h r ain Noneever an d in t e re st in his rare st o ry- t ellin g powe r a gift which satin3m should In some me asure c ompen sat e fo r his lack of sup e r inthe ort: dire ct t han p o the r artist has un derst o o d so we ll the pict o rial T at s n u a un lo n o f o e t o f patriarchal hist o ry . h i g l r p ry t c a c ommo n s en an d pro se , o f mysticism an d prac i l se , so st rikin g in the Hebre w c haract er, appeale d powerfully t o ’ R n n It was e cu a we re re e mbran dt s im agi atio . p li rly ll p n ac o r se n t e d in the s c e n es o f an gelic visit atio . J b W e s flin t the An l g wi h g e stre n uo us re alitie s o f ’ 0 Re mbran dt S Ne w Te st am e n t sc en e s are e qually well 211109 oi ( Su adapt e d t o emphasiz e the e t e rn al imman en ce o f the super, pperat INTRODUCTION 5 . t he se co n t rast s be In t he m as h i u m e His t e ry o f the art o f light an d shade e s s pre . t o em e n tire artistic care e r was de vo t e d t o this gre a pr bl , an d we c an t race his succ e ss thro ugh all the gre at pict ure s n fro m the Pre se n t ation t o the Sy dic s . Re mbran dt apparenjly “/ fo r the delicat e curve s x z fir e aut i fo rm was his re dile ctio n f ne m w d qw y b p m No n e e ve r lo ve d be tt er the play o f light upo n j e we ls an d sat in an d arm o r, the rich effe ctiven e s s o f O rien t al stuffs s st e tm n s n t t t st e an d e c cle ia ical v s e t . U able t o gra ify his a in h o t s w c he a n t e t o o e he t o o e e t e p rt rai hi h p i d rd r, k v ry i o ppo rt un ity t o pain t bo th h m se lf an d his wife , Saskia, in t m " e e e t he su e ct a m tt e h n t o uc c o s u e .

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