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Rembrandt and his works- comprising a short account of his life; with a critical examination into his principles and practice of design, light, shade, and colour. Illustrated by examples from the (14740971626)
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Identifier: rembrandthiswork00burn (find matches)
Title: Rembrandt and his works: comprising a short account of his life; with a critical examination into his principles and practice of design, light, shade, and colour. Illustrated by examples from the etchings of Rembrandt
Year: 1849 (1840s)
Authors: Burnet, John, 1784-1868
Subjects: Rembrandt Harmenszoon van Rijn, 1606-1669
Publisher: London, D. Bogue
Contributing Library: Getty Research Institute
Digitizing Sponsor: Getty Research Institute
Text Appearing Before Image:
ralizing principles pervade everyvariety of subject. Fuseli, speaking of portait painting as mere likenesses,adds— To portrait painting thus circumstanced, we subjoin, as the lastbranch of uninteresting subjects, that kind of landscape which is entirely 72 REMBRANDT AND HIS WORKS. occupied with the tame delineation of a given spot—an enumeration of hilland dale, clumps of trees, shrubs, water, meadows, cottages, and houses—what is commonly called views. These, if not assisted by nature, dictatedby taste, or chosen for character, may delight the owner of the acres theyenclose, the inhabitants of the spot, perhaps the antiquary or the traveller,but to any other eye, they are little more than topography. The landscapeof Titian, of Mola, of Salvator, of the Poussins, Claude, Rubens, Elsheimer,Rembrandt, and Wilson, spurns all relation with this kind of map-work.To them nature disclosed her bosom in the varied light of rising, meridian,and setting suns—in twilight, night, and dawn.
Text Appearing After Image:
73 DRAWINGS BY REMBRANDT. In looking over the numerous portfolios of drawings in public and privatelibraries, we are struck with the accumulated mass of mediocre talent. Manyof them are often well composed, and even well drawn, but they are com-pletely destitute of what constitutes true merit — they possess no distin-guishing mark whereby we can discern one master from another; they arestruck off with wonderful dexterity, as far as the eye or hand is concerned,but the mind is totally wanting; neither do they possess the peculiarfeatures of natural truth, whose lines are filled Avith variety, sometimessharp, sometimes round—in parts faint and delicate, and in other placesstrong and cutting. On the other hand, when the drawings of greatpainters are examined, the master mind shines forth in every touch, and werecognise the works of Michael Angelo, Raffaelle, Coreggio, and others, ata glance. The drawings of Rembrandt possess this quality in a superlativedegree, and the slightest indi
By the last decades of the 16th century, the refined Mannerism style had ceased to be an effective means of religious art expression. Catholic Church fought against Protestant Reformation to re-establish its dominance in European art by infusing Renaissance aesthetics enhanced by a new exuberant extravagance and penchant for the ornate. The new style was coined Baroque and roughly coincides with the 17th century. Baroque emphasizes dramatic motion, clear, easily interpreted grandeur, sensuous richness, drama, dynamism, movement, tension, emotional exuberance, and details, and often defined as being bizarre, or uneven. The term Baroque likely derived from the Italian word barocco, used by earlier scholars to name an obstacle in schematic logic to denote a contorted idea or involuted process of thought. Another possible source is the Portuguese word barroco (Spanish barrueco), used to describe an irregular or imperfectly shaped pearl, and this usage still survives in the jeweler’s term baroque pearl. Baroque spread across Europe led by the Pope in Rome and powerful religious orders as well as Catholic monarchs to Northern Italy, France, Spain, Flanders, Portugal, Austria, southern Germany, and colonial South America.
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