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In the autumn of 1669 he himself passed away, leaving behind him his painting-clothes, his paint-brushes, and nothing else, save a name destined to an immortality which his contemporaries little foresaw. All else had gone: his wife, his child, his treasures, and his early vogue among the Dutchmen of his time.
He painted Titus over and over again looking like a young prince. In these later years the portraits of himself increase in number, as if because of the lack of other models. When we see him old, haggard, and poor in his worn brown painting-clothes, it hardly seems possible that he can be the same Rembrandt as the gay, frolicking man in a plumed hat, holding out the pearls for Saskia.
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