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Updated: June 11, 2025
She was proud of a terra-cotta head of her ancestor, Admiral de Ruyter. The party soon reached Rembrandt's celebrated "School of Anatomy," originally painted for the Amsterdam Guild of Surgeons. Tulp is in black coat with lace collar and broad-brimmed soft hat, dissecting a sinew of the arm of the corpse before him.
Drama as defined by Robert Louis Stevenson consists not of incident but of passion that must progressively increase in order that the actor may be able to "carry the audience from a lower to a higher pitch of interest and emotion." This also defines Rembrandt's painting at all periods.
Look at Rembrandt's old woman in our National Gallery; had she died before she was eighty- three years old she would not have been living now. Then, when she was eighty-three, immortality perched upon her as a bird on a withered bough. I seem to hear someone say that this is a mockery, a piece of special pleading, a giving of stones to those that ask for bread.
Rembrandt's influence upon the art of his time was very great almost from the beginning of his career. About 1634 he introduced his manner of portrait-painting, with dark backgrounds and deep shadows on the face, with a bright light on the cheek and nose passing down to the shoulder, and immediately other artists adopted this manner.
The lad could not in those days get far from his adored mother; so he stayed only a little time, before he went back to Leyden where she was. There was his heart, and, painting or no painting, he must be near it. Until the past thirty years no one has seemed to know a great deal of Rembrandt's early history, but much was written of him as a boorish, gross, vulgar fellow. Those stories were false.
In Rembrandt's portraits the eye is the center wherein life, in its infinity of aspect, is most manifest. Not only was his fidelity absolute, but there is a certain mysterious limpidity of gaze that reveals the soul of the sitter. A "Rembrandt" does not give up its beauties to the casual observer it takes time to know it, but once known, it is yours forever. Emile Michel
The little drawing-room with its grey wall-paper, roses in blue jars, its two pictures Velasquez' Maria Theresa in an old silver frame and Rembrandt's Night Watch was pleasant, but overwhelmed now by the presence of these two enormous ladies. The evening sun, flooding it all with yellow light, was impertinent enough to blind the eyes of Mrs. Rossiter.
My sister's white, anxious face stood out in the obscurity with a startling exactness of profile like one of Rembrandt's portraits. We sat opposite to each other on either side of the table with no sound breaking the silence save the measured ticking of the clock and the intermittent chirping of a cricket beneath the grate. There was something awe-inspiring in the absolute stillness.
In 1630, when Rembrandt was a mere lad, he seems to have settled in Amsterdam, and married there in 1634, when he was six or eight and twenty years of age, a young Dutchwoman possessed of a considerable fortune, which, in case of her death and of Rembrandt's re-marriage, was to pass to her children, a provision that in the end wrought Rembrandt's ruin.
For in art, ideas, like feelings, are objectified in sensation. Only sensations are given; out of the mind come ideas through which the former are interpreted and made into the semblance of things. Consider, for example, Rembrandt's "Night-Watch." A festal mood is there in the golds and reds, and gloom in the blacks; but there also are the men and drums and arms.
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