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Updated: June 9, 2025
'What! exclaimed Rembrandt, 'efface the finest figure in the picture? No, indeed; I prefer keeping the piece for myself. Which he did, and carried off the painting. Of Rembrandt's style it may be said that he painted with light, for frequently an object was indicated merely by the projection of a shadow on a wall. Often a luminous spot suggested, rather than defined, a hand or a head.
For the public it is enough that one of his landscapes should be sold for £100,000, and they all flock to see it; but put a fine Rembrandt portrait in a shop-window without a name to it, and there would be little fear of the pavement being blocked.
The room partially lighted by damar torches; the clang of the noisy instruments; the crowd of wild spectators; their screams of encouragement to the performers; the flowing hair and rapid evolutions of the dancers, formed a scene I wish could have been reduced to painting by such a master as Rembrandt or Caravaggio.
Although it was broad daylight, yet still could be heard at a distance the resounding music of the orchestras of the drinking dens, where, above all, could be distinguished the sonorous vibrations of the cornets-a-piston. It needs the pencil of Callot, or Rembrandt, or of Goya to portray the bizarre, hideous, almost fantastical appearance of this multitude.
The memory of Julius Lange was associated in my mind with every picture of Hobbema, Dubbels or Ruysdael, Rembrandt or Rubens, every reproduction of Italian Renaissance art, every photograph of church or castle. And I myself loved pictures even more ardently than poetry.
He is neither a pantheist in his worship of sunshine, nor is he a mystic in his pursuit of shadows. He is always virile, always tender, never trivial, nor coarse an aristocrat of art. In the Dresden Merry Company, and a large canvas it is he comes to grips with Rembrandt in the matter of the distribution of lights and shades.
But even with this definition, the term realism has no very definite meaning unless all persons agree as to what constitutes nature. There is a great difference in men according as they are looked at with the eye of a Raphael or of a Rembrandt.
In its influence Jeremy Taylor should write his "Liberty of Prophesying," Sir Matthew Hale his fearless replies, while Rembrandt was placing on canvas little Dutch children, with wooden shoes, crowding to the feet of a Jewish Messiah. Its lines, breathing life, order, and freedom, would inspire John Bunyan's dream, Algernon Sidney's fatal republicanism, and Puffendorf's judicature.
It was a fine painting by Paul Potter, a Dutch artist of the seventeenth century, who produced excellent works before he was sixteen years old. The boys admired it because the subject pleased them. They passed carelessly by the masterpieces of Rembrandt and Van der Helst, and went into raptures over an ugly picture by Van der Venne, representing a sea fight between the Dutch and English.
"You may, perhaps, be aware that yonder Rembrandt has a history. It was stolen from its present owner once, and I have always said that it will be stolen again. Many a time have I urged Lord Littimer to make it secure." "How grateful you should be to me for having done so!" "Ah, you are cynical still, which is a bad thing for one so young and er charming.
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