A History of Art for Beginners and Students - Clara Erskine Clement Waters (the best books of all time txt) 📗

In 1632 he painted the “School of Anatomy,” now one of the gems of the fine gallery at the Hague. It represents a lecture by Professor Tulp, who is dissecting the arm of a dead body and explaining its structure to seven other surgeons. It is a wonderful picture and one of the most famous works of this great master. In 1828 it was sold for the benefit of the fund for surgeons’ widows, and the Dutch Government paid thirty-two thousand florins for it. This picture is in a certain way a portrait picture, and comes within the class of Dutch pictures of which I have spoken as portraits of guilds and societies; for Tulp was very famous, and Rembrandt probably attended his lectures, and was chosen by him to be the painter of this celebrated portrait of himself surrounded by members of his guild.

Rembrandt’s influence upon the art of his time was very great almost from the beginning of his career. About 1634 he introduced his manner of portrait-painting, with dark backgrounds and deep shadows on the face, with a bright light on the cheek and nose passing down to the shoulder, and immediately other artists adopted this manner. They considered it a necessity to imitate him, so much was he admired.

In 1634 Rembrandt married Saskia van Ulenburg, who was very beautiful and of an aristocratic and wealthy family. She was only twenty-one years of age when she married, and Rembrandt painted many portraits of her besides making her his model for beautiful figures in his mythological and sacred subjects. She lived but eight years after her marriage, which were the happiest of the artist’s life. She left but one child, a son named Titus, and showed her confidence in her husband by leaving all her fortune to him, with the single stipulation that their son should be properly educated.

After the death of Saskia it seems that the only thought of the master was to work without rest, and in this way to drown the remembrance of his sorrow. There is little material for a story of his life—it is told in his pictures. The house in which Saskia lived was very fine, and Rembrandt was so fond of collecting all sorts of curious and beautiful objects that he finally made himself poor, and his collection was sold. He never travelled, and some writers have said that he was ignorant of classic art; but the list of his collections proves that he had busts of Homer and Socrates and copies of ancient sculptures, such as the “Laöcoon,” a “Cupid,” and so on. He also had pictures of some of the best Italian masters. After the sale of his home and all his rare objects he hired a house on the Rosengracht near the West Church. This house still stands, and has a shield dated 1652, though the artist did not live there until 1658.

His life here was not lonely or desolate. He had many friends in Amsterdam who did not forget him. He was near the bastions of the city, and had not far to go to sketch, as he loved to do, and he was busy with his brush until 1662, when he did nothing of which we know. In 1666 he executed four pictures. Among his works of 1667 there is a portrait of himself which is of great interest. In October, 1668, Rembrandt died after a short illness. He was buried in the West Church, and his funeral was so simple that its cost was registered as only fifteen florins.

Rembrandt’s pictures are so numerous and so varied in their subjects that no adequate list or account of them can be given here. And his numerous engravings are as interesting as his pictures, so that a volume would scarcely suffice to do him justice; but I will try to tell something of his style. His management of light was his most striking characteristic. He generally threw a strong, vivid light upon the central or important object, whether it was a single figure or a group, and the rest of the picture was in shadow. This is true of all his works, almost without exception—portraits, pictures both large and small, and etchings.

Rembrandt loved to paint unusual things. We are apt to think that an unusual thing is not natural; but if we closely observe nature, especially the effect of light and shade, we shall find that no imagination could make pictures more wonderful than the reality we see. Rembrandt had that keen observation that helped him to seize upon the sharp features—the strong points in a scene or a person—and then he had the skill to reproduce these things on his canvas with great truth.

His etchings are much prized. One of the most famous represents Christ healing the sick, and is called the “Hundred Guilders Print,” because that sum was the price he fixed for it; now a good impression of it is worth ten times as much. At his death he left about six hundred pictures and four hundred engravings. His landscapes are his rarest subjects. Most of these are in private collections, but I have seen one in the Cassel Gallery; the color of it is bright and glowing—the sky magnificent. In the foreground there is a bridge, and on an eminence are the ruins of a castle.

Some fine works by Rembrandt are in England, and very large prices have been paid for them. In 1867 “Christ Blessing Little Children” was sold for seven thousand pounds. At the San Donato sale in Florence, in 1880, “Lucretia” brought twenty-nine thousand two hundred dollars, and a “Portrait of a Young Woman” nearly as much.

Among Rembrandt’s pupils Gerbrandt van der Eeckhout holds a high rank, and his pictures are seen in many galleries.

Among the landscape painters of Holland Albert Cuyp (1605-1691) is very famous. He sometimes introduced figures and animals into his pictures, but they were of secondary importance; the scenery was his chief thought. His works are in many galleries, and the increase in their value is marvellous. Sir Robert Peel bought a landscape, twelve by twenty inches in size, for which he paid three hundred and fifty guineas: it was originally sold in Holland for about one English shilling! During the first century after his death no picture by Cuyp brought more than thirty florins; now they cost almost their weight in gold.

Other fine landscape painters were Jan and Andries Both, Jan van Goyen, Jan Wynants, Adrian van de Velde, and, finally, Philip Wouverman (1619-1668), who introduced much life into his works. He painted battles, hunting parties, and such subjects as allowed him to introduce white horses, for which he became noted. His works, as well as those of the other painters last mentioned, are valuable. There are so many in galleries which are attributed to Wouverman that it is doubtful if they are all genuine. He had animation and fine feeling for the picturesque. His execution was light and delicate, and there is much tenderness shown in his works. There were many excellent Dutch landscape painters whom we have not mentioned.

Paul Potter (1625-1654) was born at Enkhuysen, and though he died young he made himself a great and enduring reputation by his pictures of animals. “Paul Potter’s Bull,” which is in the gallery at the Hague, is as well known as any one picture the world over. He left one hundred and eight pictures and eighteen etchings. He was most successful in representing cattle and sheep; his horses are not as fine. He never crowded his pictures; they have an open landscape, but few animals, and perhaps a shepherd, and that is all. Some of his pictures have been valued as high as fifty thousand dollars.

Jacob Ruysdael (1625-1681) was born in the same year with Paul Potter. His birth-place was Haarlem. He came to be the very best of all Dutch landscape painters, and though most of his pictures represent the dull, uninteresting scenery of Holland, they are so skilfully drawn and painted that they are really most attractive, if not cheerful. His works number about four hundred and forty-eight pictures and seven fine, spirited etchings. He was fond of giving a broad, expansive effect to his pictures, and frequently placed church spires in the distance. He painted a few marine views with rough seas and cloudy skies. Though many of his works are gloomy, he sometimes painted sunshine with much effect. Some of his finest works are in the Dresden Gallery.

Mindert Hobbema was a pupil of Jacob Ruysdael, and this is almost all that is known of him personally; but his pictures show that he was a great landscape painter. They sell for enormous sums, and many of the best are in England. Most of those seen in the continental galleries are not those he should be judged by. At the San Donato sale in Florence, his picture of the “Wind-Mills” sold for forty-two thousand dollars.

The number of reputable Dutch painters is very large, but I shall mention no more names. After the great men whom we have spoken of there comes an army of those who are called “little Dutch masters,” and their principal work was making copies from the pictures of the greater artists.

In the history of what we know as German art we find a very early school at Cologne, but the records of it are so scarce and imperfect that I shall give no account of it here. At Augsburg there was an important school of art which commenced with the Holbeins. The first Hans Holbein is known as “Old Holbein,” and so little is known of him that I shall merely give his name. The second Hans Holbein, called the elder (1460-1523), painted a great number of religious pictures, which are seen in various churches and galleries in Germany. Some of the best are in the Cathedral of Augsburg. In one salon of the Munich Pinakothek there are sixteen panels painted by him. But it was Hans Holbein the third, known as “the younger,” who reached the perfection of his school (1495-1543). This painter was instructed by his father and by Hans Burgkmair. He was but fifteen years of age when he began to receive commissions for pictures. When he was about twenty-one years old he removed to Basle, and there he painted many pictures, though not nearly as many