Famous European Artists Part 20

"The two first personages are Frans Banning c.o.c.k, Lord of Furmerland and Ilpendam, captain of the company, and his lieutenant, Willem van Ruijtenberg, Lord of Vlaardingen, the two marching side by side. The only figures that are in full light are this lieutenant, dressed in a doublet of buffalo-hide, with gold ornaments, scarf, gorget, and white plume, with high boots; and a girl who comes behind, with blond hair ornamented with pearls, and a yellow satin dress; all the other figures are in deep shadow, excepting the heads, which are illuminated. By what light? Here is the enigma. Is it the light of the sun? or of the moon?

or of the torches?

"There are gleams of gold and silver, moonlight, colored reflections, fiery lights; personages which, like the girl with blond tresses, seem to shine by a light of their own; faces that seem lighted by the fire of a conflagration; dazzling scintillations, shadows, twilight, and deep darkness, all are there, harmonized and contrasted with marvellous boldness and insuperable art.... In spite of censure, defects, conflicting judgments, it has been there for two centuries triumphant and glorious; and the more you look at it, the more it is alive and glowing; and, even seen only at a glance, it remains forever in the memory, with all its mystery and splendor, like a stupendous vision."

Charles Blanc says of the picture: "To tell the truth, this is only a dream of night, and no one can decide what the light is that falls on the groups of figures. It is neither the light of the sun nor of the moon, nor does it come from torches; it is rather the light from the genius of Rembrandt."

The home of the artist at that time, of brick and cut stone, four stories high, on one of the quays of the river Amstel, must have been most attractive and happy until the death of Saskia.

Says Mr. Sweetser: "The house still stands, and, by the aid of an existing legal inventory (dated 1656), we can even refurnish it as it was in the days of Rembrandt. Entering the vestibule, we find the flagstone paving covered with fir-wood, with black-cushioned Spanish chairs for those who wait, and to amuse their leisure several busts and twenty-four paintings--four each by Brouwer and Lievens, the rest mostly by Rembrandt.

"The ante-chamber, or saloon, was a large room furnished with seven Spanish chairs upholstered in green velvet, a great walnut table covered with Tournay cloth, an ebony-framed mirror, and a marble wine-cooler.

The walls were covered with thirty-nine pictures, many of which were in ma.s.sive and elegant frames. There were religious scenes, landscapes, architectural sketches, works of Pinas, Brouwer, Lucas van Leyden, and other Dutch masters; sixteen pictures by Rembrandt; and costly paintings by Palma Vecchio, Ba.s.sano, and Raphael.

"The next room was a perfect little museum of art, containing a profusion of the master's pictures, with rare works of Van Leyden, Van Dyck, Aartgen, Pa.r.s.ellis, Seghers, and copies from Annibale Caracci. The oaken press and other furnishings indicated that the marvellous etchings of our artist were engraved and printed here.

"The next saloon was the gem of the establishment, and was equipped with a great mirror, an oaken table with an embroidered cloth, six chairs with blue coverings, a bed with blue hangings, a cedar-wood wardrobe, and a chest of the same wood. The walls even here showed the profound artistic taste of the occupant, for they were overlaid with twenty-three pictures by Aartgen, Lievens, Seghers, and other northern painters; The 'Concordi,' 'Resurrection,' and 'Ecce h.o.m.o' of Rembrandt; a Madonna by Raphael; and Giorgione's great picture of 'The Samaritan.'

"On the next floor the master had his studio and museum. The great art-chamber contained materials for weeks of study; the walls were covered with rich and costly _bric-a-brac_--statuettes in marble, porcelain, and plaster; the Roman emperors; busts of Homer, Aristotle, and Socrates: Chinese and j.a.panese porcelains and drawings; Venetian gla.s.s; casts from nature; curious weapons and armor, with a shield attributed to Quentin Matsys; minerals, plants, stuffed birds, and sh.e.l.ls; rare fans, globes, and books. Another feature was a n.o.ble collection of designs, studies, and engravings, filling sixty leather portfolios, and including specimens of the best works of the chief Italian, German, and Dutch artists and engravers."

To gain this beautiful collection of works of art, Rembrandt spared no money, paying eighty-six dollars for a single engraving of Lucas van Leyden's, and fourteen hundred florins for fourteen proofs from the same painter.

After Saskia died, the tide of fortune seemed to turn. Several artists who had studied in Italy returned to Holland, and popularized the Italian style, so that the works of Rembrandt seemed to fade somewhat from the public gaze. With pride and sorrow he went on painting, but he must have been deeply wounded.

In 1643 and '44, he painted "Bathsheba at the Bath." "The nude figure of Bathsheba," says Professor Mollett, "stands out in a dazzling effect of light from a background of warm, confused shadows. The figure is not beautiful to a sculptor's eye, nor in the Italian style; but in animation, in the flesh color, and in the modelling it is superb. The harmony of the tints and of the general tone is very beautiful; tints of bronze and gold combine with shades of violet, brown, green, and yellow ochre into a warm, poetic, and mysterious gamut. 'This picture should be hung in a strong light, that the eye may penetrate into the shadows,'

said Rembrandt."

The other works of this time were the "Diana and Endymion" of the Liechtenstein Gallery at Vienna; "Philemon and Baucis;" the "Old Woman Weighing Gold," now in the Dresden Museum; "The Woman taken in Adultery," which brought thirty thousand dollars at public sale, and is now in the English National Gallery; a portrait of Jan Cornelis Sylvius, which was sold in 1872 for nearly eight thousand dollars, and the "Burgomaster Six" for six thousand dollars. The latter was the portrait of Jan Six, a young patrician, an enthusiastic student and poet, married to Margaret the daughter of the famous surgeon Dr. Tulp.

Other pictures in the next few years were "The Tribute Money;" the "Burgomaster Pancras giving a Collar of Pearls to his Wife," now owned by Queen Victoria; "Abraham receiving the Three Angels;" two paintings of the "Adoration of the Shepherds," one now in Munich and one in the National Gallery; "The Good Samaritan," and "The Pilgrims of Emmaus,"

now in the Louvre; and "The Peace of the Land," celebrating the peace of Westphalia, now in the Boymans Museum at Rotterdam. "It represents the enclosure of a fortress, the walls of which are visible in the right-hand background, where cannons are blazing and a group of soldiers fighting; the right-hand foreground is entirely occupied by a group of hors.e.m.e.n, of remarkable vigor and truth; on the left are two thrones, on one of which leans a figure of Justice, clasping her hands as if in supplication. The centre, which is in the light, is occupied by a couchant lion growling, his one paw on a bundle of arrows, the symbol of the United Provinces. The lion is bound by two chains, the one attached to the thrones, the other fastened to an elevation, bearing on a shield the arms of Amsterdam, surrounded by the words, 'Soli Deo Gloria.'"

"Samuel taught by his Mother," "Christ appearing to Mary," "The Prophetess Anna," "Jesus blessing Little Children," purchased for the National Gallery for thirty-five thousand dollars;--"The Bather," in the National Gallery, of which Landseer says: "It is the most artful thing ever done in painting, and the most unsophisticated;" a likeness of Rembrandt's son t.i.tus, now twelve years old, were his next works.

Fifty-seven etchings were made between 1649 and 1655, the most celebrated being the "Hundred-Guilder Print," or "Jesus healing the Sick."

"The subject of this etching is taken from the words, 'And Jesus went about all Galilee, preaching the gospel of the kingdom, and healing all manner of sickness and all manner of disease among the people.' The serene and calm figure of Jesus stands out from the shadow of the background, preaching to the people around him. By a superb ant.i.thesis, the Pharisees and Sadducees, the priests and the curious and unbelieving, are standing on Christ's right hand, bathed in light, while from the shadows that envelop the left side of the picture are coming the sick, the possessed, and unfortunates of all kinds. The composition is full of feeling, drawn and executed with a rare genius, the details revealing a world of expression and character: the lights and shadows, disposed in large ma.s.ses, are of wonderful softness. The etching, commenced with aqua-fortis, is finished with the dry point, the silvery neutral tints of Christ's robe and the soft shadows being produced in this manner."

Frederick Wedmore says in his "Masters of Genre-Painting," "I should be thankful for the 'Hundred-Guilder Print,' were it only because of the half-dozen lines in which Rembrandt has etched one figure, to me the central one, a tall man, old and spare, and a little bent, with drooped arms, and hands clasped together in gesture of mild awe and gently felt surprise, as of one from whose slackened vitality the power of _great_ surprise or of _very_ keen interest has forever gone. On his face there is the record of much pain, of sufferings not only his own, not only of the body, but of saddening experiences which have left him quelled and forever grave."

The name arose from the fact that a Roman merchant gave Rembrandt for one engraving seven Marc Antonio engravings, which were valued at a hundred guilders, and the artist would never sell any of these pictures below this price. Only eight impressions of the first plate are in existence; two are in the British Museum, one is in Paris, one in Amsterdam, one in Vienna, one in the collection of the Duke of Buccleuch, one in Mr. Holford's, and one owned by M. Eugene Dutuit of Rouen, sold in 1867 for about six thousand dollars.

When Saskia died, she left her property--she had brought Rembrandt forty thousand florins--to her infant son t.i.tus, with the condition that her husband should have the use of the money until his death or his second marriage. If the boy died, Rembrandt was to receive the whole estate, save in case of a second marriage, when half should go to her sister.

Already Saskia's friends saw the money pa.s.sing away from the artist, and they brought suits for t.i.tus's sake, to recover it. Finally, in 1656, he transferred his house and land to t.i.tus, with the privilege of remaining there during the pleasure of Saskia's relatives.

Matters did not improve, and the following year all the rich collection of art works and household goods were sold by auction to meet the demands of creditors. The next year his engravings and designs were sold in the same way, and the year following the house was disposed of, Rembrandt being allowed to remove two stoves only and some screens.

These must have been bitter days for the once happy artist. It was fortunate that Saskia did not live to see such a direful change.

During all the struggle and disgrace Rembrandt kept on working. In 1656 and '57 he painted for the Surgeons' Guild, a large picture, "Lesson on Anatomy of Joan Deyman," containing the portraits of nine celebrated doctors; "St. John the Baptist Preaching," a canvas with over one hundred small figures; "The Adoration of the Magi," now in Buckingham Palace and greatly admired; "Joseph accused by Potiphar's Wife," and "Jacob blessing Ephraim and Mana.s.seh."

Professor Mollett says that the "Jacob" "belongs as much to all times and all nations as the masterpieces of Greek sculpture. This touching scene, which is simply rendered with all the power of Rembrandt's art, represents the aged patriarch extending his hands, which Joseph is guiding, towards the boys, who are kneeling before him. Behind the bed stands their mother, Asenath, with clasped hands. The light falling from behind Jacob, on the left, leaves his face in the shade. His head is covered by a yellowish cap, bordered with clear-colored fur; the sleeve of the right arm is of a beautiful gray; the hand painted with large, broad touches. The bed is covered with a sheet and a counterpane of pale red and fawn color.

"Joseph wears a turban, and his wife a high cap, long veil, and robe of gray and fawn-colored brown. The fair child has a yellow vest; and his head, bright with reflected lights, is very fine in tone, and of extreme delicacy. We see the colors here employed are gray and fawn-colored brown, which, in the highest notes, only reach subdued red or yellow.

The whole bears a mysterious air; in a fine and luminous light, filled with tones and half-tones that are indefinable. The touch is of such surpa.s.sing boldness and ease, that, when viewed in detail, the picture might be called a sketch, if the harmony and completeness of the whole did not indicate the maturity and profundity of the work."

After Rembrandt's home was sold, he hired a house on the Rosengracht, a retired but respectable part of the city, two blocks away from the Bloemgracht, where he began life with his beloved Saskia. Here, as elsewhere, he gathered admiring pupils about him, and kept diligently at his work. It is probable that he was married at this time, or later, for in 1663 he painted a picture known as "Rembrandt and his Family," now in the Brunswick Museum, where a rosy and smiling lady is seated with a child on her lap, while two little girls of perhaps five and seven stand by her. The man with brown hair stands on the left, giving a flower to one of the girls.

Rembrandt's chief works now were "Moses descending from Sinai, and breaking the Tables of the Law," "Jacob wrestling with the Angels," a striking picture of "Ziska and his Adherents swearing to avenge the Death of Huss," and "The Syndics of the Guild of Clothmakers," now in the Amsterdam Museum.

Professor Springer writes concerning the latter picture, the "School of Anatomy," and "The Night Watch:" "Art has never again created a greater wealth of stirring imagery or poetry of color so entrancing as these three pictures reveal to us. Unconsciously our thoughts return to Shakspeare's familiar creations, and we recognize in these two mighty art champions of the north kindred natures and a corresponding bent of fancy."

In 1668, t.i.tus, now twenty-seven years old,--he studied painting, but became a merchant,--was married to his cousin Magdalena van Loo, one of the Frisian families, and died in September of the same year. The next March, his widow bore a daughter who received the name of t.i.tia, for her dead father. Magdalena died in the same year in which her child was born. Thus frequently did sorrow shadow the path of the great master of shadows.

This year, Rembrandt painted several portraits of himself. "In that of the Pitti Palace, we see him wrapped in fur, a medal is hung about his neck, and he is wearing a close-fitting cap, from which his ample white hair escapes. His face is furrowed with age, but the brightness of the eye is not diminished....

"In the splendid portrait in the Double Collection at Rouen, he again stands before us, with bending att.i.tude and slightly inclined head, in theatrical costume, with his maulstick in his hand, laughing heartily.

And this is Rembrandt's farewell! His face is wrinkled across and across by time and care, but it is no gloomy misanthrope crushed by evil fortune whom we see, but the man who opposed to all fortunes the talisman of Labor, and thus paints the secret of his life in his final portrait of himself, in the midst of his work, scorning destiny."

A year after t.i.tus died, death came to Rembrandt, at sixty-two. He was buried simply in the West Church, so simply that the registered expense of his burial is fifteen florins!

His power of work was marvellous. He painted over six hundred and twenty pictures, executed three hundred and sixty-five etchings, besides two hundred and thirty-seven variations of these, with hundreds of drawings and sketches scattered over Europe. Among the best known etchings are "Rembrandt's Portrait with the Sword," "Lazarus rising from the Dead,"

the "Hundred-Florin Plate," "Annunciation," "Ecce h.o.m.o," "The Good Samaritan," "The Great Descent from the Cross," the landscape with the mill, and that with the three trees.

That he was a man of great depth of feeling is shown by his love of his mother, his worship of Saskia, and his tenderness to his brothers and sisters after they had lost their fortunes. He was also pa.s.sionately fond of nature and of animals. Sweetser tells this incident: "One day he was making a portrait group of a notable family, when he was informed that his favorite monkey had died. The grieving artist caused the body to be brought to the studio, and made its portrait on the same canvas on which he was engaged. The family, aforesaid, was naturally incensed at such an interpolation, and demanded that it should be effaced; but Rembrandt preferred to keep the whole work himself, and let his patrons seek a more accommodating artist."

Taine pays Rembrandt this glowing tribute in his "Art in the Netherlands:" "Rembrandt, constantly collecting his materials, living in solitude and borne along by the growth of an extraordinary faculty, lived, like our Balzac, a magician and a visionary in a world fashioned by his own hand, and of which he alone possessed the key. Superior to all painters in the native delicacy and keenness of his optical perceptions, he comprehended this truth and adhered to it in all its consequence,--that, to the eye, the essence of a visible object consists of the spot (_tache_), that the simplest color is infinitely complex, that every visual sensation is the product of its elements coupled with its surroundings, that each object on the field of sight is but a single spot modified by others, and that in this wise the princ.i.p.al feature of a picture is the ever-present, tremulous, colored atmosphere into which figures are plunged like fishes in the sea....

"Free of all trammels and guided by the keen sensibility of his organs, he has succeeded in portraying in man not merely the general structure and the abstract type which answers for cla.s.sic art, but again that which is peculiar and profound in the individual, the infinite and indefinable complications of the moral being, the whole of that changeable imprint which concentrates instantaneously on a face the entire history of a soul, and which Shakespeare alone saw with an equally prodigious lucidity.

"In this respect he is the most original of modern artists, and forges one end of the chain of which the Greeks forged the other; the rest of the masters, Florentine, Venetian, and Flemish, stand between them; and when, nowadays, our over-excited sensibility, our extravagant curiosity in the pursuit of subtleties, our unsparing search of the true, our divination of the remote and the obscure in human nature, seeks for predecessors and masters, it is in him and in Shakespeare that Balzac and Delacroix are able to find them."

SIR JOSHUA REYNOLDS.

In Plympton, Devonshire, July 16, 1723, the great English painter, Sir Joshua Reynolds, was born. His father, Samuel, and his grandfather, John, were both ministers, while his mother and grandmother were both daughters of clergymen.

[Ill.u.s.tration: SIR JOSHUA REYNOLDS.]

Samuel Reynolds was a gentle, kindly man, master of the grammar school at Plympton, supporting his eleven children on the meagre income of seven hundred and fifty dollars a year. He had married Theophila Potter, when she was twenty-three, the lovely daughter of a lovely young mother, Theophila Baker, who, marrying against the consent of her father, was disinherited by him, and at the early death of her devoted husband wept herself blind, and died broken-hearted.

Joshua, the seventh child of Samuel and Theophila, was a thoughtful, aspiring boy, who cared more for drawing than for Ovid, and spent his early years in copying the ill.u.s.trations from "Plutarch's Lives" and Jacob Cats's "Book of Emblems," which his grandmother, on his father's side, had brought with her from Holland. His sisters were also fond of drawing, and as pencils and paper could not be afforded in the minister's family, they drew on the whitewashed walls of a long pa.s.sage, with burnt sticks. The boy's sketches were the poorest, and he was therefore nicknamed "the clown."

On the back of a Latin exercise, the lad drew a wall with a window in it. Under it, the not highly delighted father, who wished his boy to be a learned doctor, wrote: "This is drawn by Joshua in school, out of pure idleness." But when in his eighth year the boy made a fine sketch of the grammar school with its cloister, having studied carefully the Jesuit's "Treatise on Perspective," the astonished father said, "Now, this exemplifies what the author of the 'Perspective' says in his preface, 'that, by observing the rules laid down in this book, a man may do wonders;' for this is wonderful."

Joshua was fond of literary composition, and early composed some rules of conduct for himself, which influenced him through life. He said, "The great principle of being happy in this world is not to mind or be affected with small things," a maxim which he carried out in his peaceful, self-poised, and remarkably happy life.