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There he is related to the Dutch Seer, Rembrandt; both men strove to seek for the eternal correspondence of things material and spiritual; both sought to bring into harmony the dissonance of flesh and the spirit. Both succeeded, each in his own way though we need not couple their efforts on the technical side. Rembrandt was a prophet. There is more of the reflective poet in Carrière.
It is this characteristic which so sharply distinguishes the work of Rembrandt from that of his closest imitators. There is a large picture in the National Gallery, Christ Blessing the Children, catalogued as "School of Rembrandt," in which we see as near an approach to his manner as to justify the attribution, but that is all.
It seems to me we do mean something when we say that Phidias, Sophocles, and Aristophanes, Raphael, Racine, Molière, Poussin, Milton, Wren, Jane Austen and Mozart are highly civilized artists, and that the creators of the Gothic cathedrals and the author of the Chanson de Roland, Villon, Webster, Rembrandt, Blake, Wordsworth, Emily Brontë, Whitman, Turner, Wagner and the Congolese fetish-makers are not.
Rembrandt painted a good many "Samsons" first and last himself evidently being the strong man; and the pictures beyond doubt express his own mood and his idea of his relation to things.
There is a general if somewhat vague recognition of the force and beauty of its achievements as illustrated in the work of Dante, Raphael, Rembrandt and Wagner; but very few people perceive the play of this supreme architectural and structural faculty in the great works of engineering, or in the sublime guesses at truth which science sometimes makes when she comes to the end of the solid road of fact along which she has traveled.
This friend of the revolutionist Lelewel wore a black velvet cap which came to a point on the brow, and took a high light worthy of the touch of Rembrandt. "I wonder if he takes me for a thief." The answer to this mental question was on the doctor's table and fireplace. Godefroid thought he was the first to arrive; he was really the last.
It is the most dramatic work in the world, and the most powerful in its effect. Other men have painted light and colour; Rembrandt makes gloom and shadow living things. This miracle-worker's funeral cost ten dollars; he died in Amsterdam and was buried in the Wester Kirk.
It is supposed that only two of the etchings were made expressly for publication the Descent from the Cross, and the Ecce Homo; but Rembrandt may have benefited from the sale of them through the partnership that was formed in 1660 between his son Titus and Hendrickje Stoffels. The Hermitage, St. In the eighteenth century certain connoisseurs had already made collections of his etchings.
On cloudy days and early in the mornings or in the evenings, Rembrandt noted that when the light fell on the face of the visitor the rest of the body was wholly lost in the shadow. He placed a curtain over the window with a varying aperture cut in it, and with his mother as model made numerous experiments in the effects of light and shade.
As a photograph of a young and healthy girl is more accurate and more pleasing in subject than a painting of an old woman, what reason is there for it to arouse less esthetic feeling than an immortal portrait by Rembrandt?
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