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His pictures were in demand, principally because they were Lastman's. Proud ladies came from afar and begged the privilege of sitting as his model. In Italy, Lastman had found that many painters employed 'prentice talent. The great man would sketch out the pictures, and the boys would fill in the color.
But his taste for drawing and painting would not be put aside, and in 1620 he entered the studio of J. J. van Swanenburg, where he learned the first lessons in his art, and was then placed under the teaching of Pieter Lastman in Amsterdam, where he remained only six months, after which he returned to his father's house, and there lived for seven years.
In six months he had learned at least one thing, that Lastman had nothing more to teach him. The man of genius must ever be his own master, though he remain the hard-working student all his days. Back to Leyden and to his father's house, Rembrandt had not returned to lead a life of idleness. He worked tremendously in these early years.
Lastman would go off about his business, and perhaps drop in occasionally during the day to see how the boys got on, adding a few touches here and there, and gently rebuking those who showed too much genius. Lastman believed in genius, of course; but only his own genius filled his ideal. As a consequence all of Lastman's pictures are alike they are all equally bad.
Six different etchings done in the year Sixteen Hundred Twenty-eight are to be seen in the British Museum. His most intimate friend at this time was Jan Lievens. The bond that united them was a mutual contempt for Lastman of Amsterdam. In fact, they organized a club, the single qualification required of each candidate for admittance being a hatred for Lastman.
In the absence of any pictures by his masters Van Swanenburg and Pinas, it is difficult to ascertain what, if anything, he learnt from them. From Peter Lastman we may be sure he learnt nothing in the way of technique.
Here he studied for about three years, after which he went to Amsterdam and was for a short time with another painter named Lastman, who was a clever but superficial imitator of the Italian School then flourishing in Rome. Returning to Leyden, Rembrandt set up his easel and remained there painting till 1631, when he went to Amsterdam.
Did the chief citizens of Leyden in the year Sixteen Hundred Thirty regard Rembrandt's beggars as immortal? Not exactly! In Sixteen Hundred Thirty-one, Rembrandt concluded that his reputation in the art-world of Holland was sufficient for him to go to Amsterdam and boldly pit himself against De Keyser, Hals, Lastman and the rest.
There is only one man who can benefit him and that is Pieter Lastman, of Amsterdam. He must go and study with the great Lastman I myself will take him." Lastman had spent four years in Italy, and had come back full to overflowing with classic ideas. His family was one of the most aristocratic in Amsterdam, and whatever he said concerning art was quoted as final. He was the court of last appeal.
At the age of fourteen Rembrandt entered at Leyden University, but showed little inclination for books. He preferred Lucas van Leyden to Virgil, and his parents, accepting the situation, allowed him to study painting under Swanenburch, and later in the studio of Lastman at Amsterdam. After a few months with Lastman he returned to Leyden, "to practise painting alone and in his own way."
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