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While the Cassel collection does not contain any of the superb self portraits of Rembrandt's later years, the one example in this kind having authority without great interest, it does include one biblical picture of unusual importance belonging to the year 1656, the "Jacob Blessing his Grandchildren," which is, however, unfinished.
He made only one more portrait of himself before this he had made many; and in it he makes himself appear a stern and fateful man. It was after Saskia's death that he painted the "Night Watch," or more properly, "The Sortie." Rembrandt's home, where he and Saskia were so happy, is still to be seen on a quay of the River Amstel. It is a house of brick and cut stone, four stories high.
Gather into a single room a fragment of the Parthenon frieze, Michelangelo's "Day and Night," Botticelli's "Spring," the sprites and children of Donatello and Delia Robbia, Velasquez's "Pope Innocent," Rembrandt's "Cloth-weavers," Frans Hals' "Musician," Millet's "Sower," Whistler's "Carlyle." There is here no thought of period or of school.
The paint-imprisoned ghosts of these jolly officers, sharpshooters, regents, and shrewd-looking old women regents are not so disquieting as Rembrandt's misty evocations. They touch hands with you across the centuries, and finally you wonder why they don't step out the frame and greet you. Withal, no trace of literalism, of obvious contours or tricky effects.
As a lover of human nature, Millet's sympathies, though no less intense than Rembrandt's, were less catholic. His range of observation was limited to peasant life, while the Dutch master painted all classes and conditions of men. Yet both alike were profound students of character and regarded expression as the chief element of beauty.
Portheris. "Do you suppose he knows the way out?" I asked. "It is a shame," said Dicky. "I'll go and tell him we'd rather have him than Jonah any day." Brother Demetrius was just turning a corner. Darkness encompassed him, lying thick between us. He looked, in the light of his candle, like something of Rembrandt's suspended for a moment before us. Dicky started after him, and, presently, Mrs.
It was the mystery of two pictures at the National Gallery that first drew the child to Rembrandt: it was the etchings that gave him a deeper insight into Rembrandt's sense of mystery, and made of him a willing Gamaliel at the master's feet.
Tulp indicates with his forceps one of the tendons of the subject's left arm, and appears to be addressing the students, or practitioners, for these seven bearded men have long passed the age of studentship. This picture made Rembrandt's reputation. He was but twenty-six; the world seemed to be at his feet; in the two following years he painted forty portraits.
The rich merchants felt it an honor to serve on the board of managers of these institutions. In each of the guildhalls were parlors set apart for deliberative gatherings; and it became the fashion to embellish these rooms with portraits of the managers, trustees and donors. Rembrandt's portraits were finding their way to the guilds.
Lastman had tried to correct Rembrandt's vagaries as to chiaroscuro, but without success. So he wrote an ambiguous letter certifying to the pupil's "having all his future before him," gave him a present of ten florins in jingling silver, and sent him back to his folks. Rembrandt had been disillusioned by his stay in the fashionable art-world of Amsterdam.
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