LITMIR.BIZ

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skill and subtlety."78 Rembrandt "sacrifices the light and colour of five-sixths of his picture." This is inevitable. For both the light and the darkness of nature are inimitable by art. "The whole question, therefore, is simply whether you will be false at one end of the scale or at the other – that is, whether you will lose yourself in light or in darkness… What Veronese does is to make his colours true to nature as far as he can. What Rembrandt does is to make his contrasts true, never minding his colours – with the result that in most cases not one colour is absolutely true."79 An exception, however, must be made. For he often "chose subjects in which the real colours were very nearly imitable, – as single heads with dark backgrounds, in which nature's highest light was little above his own." He was particularly fond also of dark scenes lighted only by some small spot of light; as, for instance, in this picture and in No. 47.

      The technical skill and sense of power which distinguish Rembrandt's work are reflected in his life – a life of hard labour, sinking towards its close into deep gloom, and a life at all times of a certain aloofness and of restricted vision. He was born at Leyden, being the fifth child of a miller, and from a very early age set himself to etch and sketch the common things about the mill. "His father's mill was, doubtless, Rembrandt's school; the strong and solitary light, with its impenetrable obscurity around, the characteristic feature of many of Rembrandt's best works, is just such an effect as would be produced by the one ray admitted into the lofty chamber of a mill from the small window, its ventilator" (Wornum). He never went to Italy or cultivated the grand style. He studied the life and manner of his own time and people. His models were not conspicuous for elegance; beauty of form was not within the compass of his art. He was indefatigable in making studies both of himself and of his mother. Among the things he studied were, it must be admitted, the lowest functions of humanity and often obscenities of a rollicking kind; coarseness of manner and conversation was common at that time. Rembrandt studied for a short period under a well-known painter, Pieter Lastman, at Amsterdam, where he had for a fellow-pupil a fellow-townsman, Jan Lievens (see 1095), but returned to Leyden in 1624, determined "to study and practise in his own fashion." He soon acquired a considerable reputation; a Dutch poet, in a book published in 1630, refers to him as an instance of precocity, and in disproof of the doctrine of heredity. Rembrandt, "beardless, yet already famous," was the son of a miller, "made of other flour than his father's." As most of his sitters lived in Amsterdam, then a great centre of wealth and learning, Rembrandt moved to that city in 1631. The famous "Anatomy Lesson," now in the Museum at the Hague, was produced in the following year. "He lived very simply," we are told, "and when at work contented himself with a herring or a piece of cheese and bread; his only extravagance was a passion for collecting." In 1634 he married Saskia Uilenburg, a lady of a good Frisian family, and possessed of some fortune. Her features may be recognised in a large number of the painter's pictures; in none more attractively rendered than in the famous picture of the Dresden Gallery, in which she is sitting on her husband's knee. During this period of Rembrandt's life all went well with him. Commissions poured in; his studio was crowded with scholars, and his etchings spread his fame far beyond his native land. He lived for his art and his home, mixing little in society. "When I want to give my wits a rest," he said, "I do not look for honour, but for liberty." "When he was painting," said one of his biographers, "he would not have given audience to the greatest monarch on earth, but would have compelled even such an one to wait or to come again when he was more at leisure." He never travelled, even in Holland, and he dwelt apart. He had few books, but his taste in art was catholic. To his passion for collecting we have already referred. His house, which still stands in the Breedstraat, was a museum of curiosities, containing costly materials, stuffed animals, richly ornamented weapons, casts, engravings, and pictures (including works by Palma Vecchio and Giorgione). The pearls, precious stones, rich necklaces, clasps and bracelets of every kind that Saskia wears in her portraits were not gems of the painter's imagination, but actual objects from the jewel-cases which he filled for his wife. "When Rembrandt was present at a sale," says Baldinucci, "it was his habit, especially when pictures drawn by great masters were put up, to make an enormous advance on the first bid, which generally silenced all competition. To those who expressed their surprise at such a proceeding, he replied that by this means he hoped to raise the status of his profession." This lordly buying was the undoing of Rembrandt's worldly fortunes. In 1642 Saskia died, and his financial embarrassments, which had already begun, went from worse to worse. In 1656 he was declared bankrupt; his house and collections were sold, and at the age of fifty-one he found himself homeless and penniless. He was stripped, we read, even of his household linen, though of this, to be sure, he seems to have had but a meagre store. In his life, as in his art, there were heavy shadows; but the light shines out in his undaunted perseverance. He had lived for some years with his servant, Hendrickje Stoffels, an uneducated peasant, who served him as a model, and whose homely features appear in many of the pictures of his middle period (see e.g. No. 54). In 1654 Rembrandt had been summoned before the elders of the Church on account of the irregularity of their relationship. But Hendrickje was a good mother to Rembrandt's legitimate children as well as to her own, and in 1660 she and the painter's son, Titus, entered into partnership as art dealers, and supported Rembrandt by the sale of his etchings. His vogue as a painter had by this time been eclipsed by the popularity of painters of less sombre genius. Fallen from his rich estate and frowned upon by the Church, the master found himself in the last period of his life deserted and unhonoured. Yet to this period belong many of his noblest works. "He had never cared," says M. Michel, "for the suffrages of the crowd. He set his face more steadily than ever towards the goal he had marked out for himself. Within the walls of his makeshift studios, seeking solace in work and meditation, he lived for his art more absolutely than before; and some of his creations of this period have a poetry and a depth of expression such as he had never hitherto achieved." But fresh sorrows descended upon the master as the end drew near. Hendrickje died about 1664, and this blow was followed in 1668 by the death of Titus. Crushed in spirit and broken by poverty, the old painter did not long survive his son. He died in 1669 – unknown, unrecorded, and dishonoured. Gerard de Lairesse, then at the height of his reputation, said of him only that he was a master "who merely achieved an effect of rottenness," and was "capable of nothing but vulgar and prosaic subjects." Now, two centuries and a quarter after his death, Rembrandt's fame stands higher than even in the heyday of his success. His work as a painter is represented in the National Gallery by several masterpieces. Of his drawings and etchings the British Museum possesses a splendid collection; an exhibition of these (illustrated by an admirable Catalogue) was arranged in 1899.

      A tour de force in the artist's speciality of contrasts of light and shade. Notice how a succession of these contrasts gradually renders the subject intelligible. "The eye falls at once upon the woman, who is dressed in white, passes then to the figure of Christ, which next to her is the most strongly lighted – and so on to Peter, to the Pharisees, to the soldiers, till at length it perceives in the mysterious gloom of the Temple the High Altar, with the worshippers on the steps" (Waagen: Treasures of Art in Great Britain, i. 353). "Beyond the ordinary claims of art, this picture commands our attention from the grand conception of the painter, who here, as in other pictures and etchings, has invested Christ with a majestic dignity which recalls Leonardo and no other" (J. F. White).

      This picture, which was painted in 1644 for Jan Six, the well-known patron of Rembrandt, passed eventually into the possession of Mr. Angerstein. The poet Wordsworth, describing a visit he paid to the Angerstein collection, wrote to Sir George Beaumont in 1808: "Coleridge and I availed ourselves of your letters to Lawrence, and saw Mr. Angerstein's pictures. The day was very unfavourable, not a gleam of sun, and the clouds were quite in disgrace. The great picture of Michael Angelo and Sebastian (No. 1) pleased me more than ever. The new Rembrandt has, I think, much, very much, in it to admire, but still more to wonder at rather than admire. I have seen many pictures of Rembrandt which I should prefer to it. The light in the depth of the temple is far the finest part of it: indeed, it is the only part of the picture which gives me very high pleasure; but that does highly please me" (Memorials of Coleorton, ii. 49).

      46. THE BLESSINGS OF PEACE

Rubens (Flemish: 1577-1640). See 38.

      This picture was presented in 1630

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