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Updated: July 11, 2025
In other words, his composition of light and shade is more a whole, more in unison, more blended into the same harmonious feeling than Rembrandt's, who staggers by contrast, but does not soothe by gradation. Vandyke, I think, was at once the least picturesque and least ideal of all the great painters.
In the schools and academies of Europe, tradition has preserved the methods by which all the magical effects of light and shadow have been produced, with the exception, however, of Rembrandt's method, and which the author of these sketches ventures to suggest was attained, in general, by observing the effect of sunshine passing through chinks into a dark room.
Rembrandt's landscapes are the least picturesque in the world, except from the straight lines and sharp angles, the deep incision and dragging of his pencil, like a harrow over the ground, and the broad contrast of earth and sky. Earth, in his copies, is rough and hairy; and Pan has struck his hoof against it! A camel is a picturesque ornament in a landscape or history-piece.
The room was the low-beamed old wonder that I had felt it to be in the candle-light the night before, only now the soft richness of the paneling, which held back into the gloom the faded colors of the books that lined the walls, the mellowed glow of the rough stone of the chimney, and the faded hand-woven rugs on the floor made it all look like one of Rembrandt's or Franz Hals' canvases.
The halo with which the Byzantine mosaicists surrounded the faces of their saints, the glory of golden light that gleams about the figure of Christ in heaven in Tintoretto's decorations, the blank bright walls of the Doge's palace undermined by darkling and shadowy arcades, the refrain of a Provençal song, the sharp shadow under the visor of Verrocchio's equestrian statue, the thought-provoking chiaroscuro of Rembrandt's figure paintings these expedients are all designed to attract attention to the essential elements of a whole of many parts.
The Governor sat at the head of the big black-oak table in his big stately library. The large lamps on either end of the table stood in old cloisonné vases of dull rich reds and bronzes, and their shades were of thick yellow silk. The light they cast on the six anxious faces grouped about them was like the light in Rembrandt's picture of The Clinic. It was a very important meeting indeed.
None can say that there is any mystery about the sober portrait pictures called The Wife of Jan Pellicorne with her Daughter, and Burgomaster Jan Pellicorne with his Son, in the Wallace collection. A scriptural subject was needed to inspire Rembrandt's brush with the sense of mystery.
A Palestinian patriarch was the last person Sir Asher, with his hovering lackeys, would have recalled to the sculptor, who, in so far as the patriarchs ever crossed his mind, conceived them as resembling Rembrandt's Rabbis. But he replied blandly: 'Our patriarchs were polygamists. 'Exactly, assented the deaf Mayoress.
Rembrandt's mother was a Protestant, who brought up her son with a thorough knowledge of the Scripture stories, and it was the Bible that remained to the end of his life one of the few books he had in his house. The dramatic situations that he loved were there in plenty. Over and over again he painted the Nativity of Christ.
Certain it is that six years later, in 1648, when the independence of Holland was formally recognized at the Congress of Westphalia, though Terburg and Van der Heist celebrated the event on canvas, Rembrandt's services were not secured. Good friends were left to him men of intelligence who appreciated his strong individuality and the great originality of his work.
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