Rembrandt and His Works Part 11

[Ill.u.s.tration: FAC-SIMILE OF A DRAWING BY REMBRANDT IN BRITISH MUSEUM]

DRAWINGS BY REMBRANDT.

In looking over the numerous portfolios of drawings in public and private libraries, we are struck with the acc.u.mulated ma.s.s of mediocre talent. Many of them are often well composed, and even well drawn, but they are completely dest.i.tute of what const.i.tutes true merit--they possess no distinguis.h.i.+ng mark whereby we can discern one master from another; they are struck off with wonderful dexterity, as far as the eye or hand is concerned, but the mind is totally wanting; neither do they possess the peculiar features of natural truth, whose lines are filled with variety, sometimes sharp, sometimes round--in parts faint and delicate, and in other places strong and cutting. On the other hand, when the drawings of great painters are examined, the master mind s.h.i.+nes forth in every touch, and we recognise the works of Michael Angelo, Raffaelle, Coreggio, and others, at a glance. The drawings of Rembrandt possess this quality in a superlative degree, and the slightest indication seems sufficient to mark the character and leading features of the object represented. His drawings are generally in pen outline, with a wash of bistre, or other warm colour; sometimes he makes use of black and red chalk; they are seldom finished with colours, but have often portions rendered lighter and broader by means of a wash of white.

From his great practice in using the point in etching, he not only gives the greatest precision and certainty, but his outline a.s.sumes the gentlest delicacy or overpowering boldness. Everything from his hand seems to possess a largeness of form, and the greatest breadth of light and shade that can be given; this it is that gives them the stamp of truth, so that it is difficult to distinguish between those drawn immediately from nature, and such as are emanations from his imagination. On looking into the catalogue of his effects, we perceive large folios of his drawings, which, though at the sale they produced but small sums, are now marked with their true value. I may notice here a small drawing of "The Death of the Virgin," that brought, at the sale of the late Baron Verstolk, one hundred and sixty guineas. One cannot but regret that the excellent collection of the drawings by Rembrandt and other masters, selected by the late Sir Thomas Lawrence, with great taste and at large sums, should have been lost to the country, though offered in his will at comparatively a small price. Nevertheless, we possess several fine specimens in the British Museum Print-room.

THE ETCHINGS OF REMBRANDT.

No painter has gained so much celebrity by his etchings as Rembrandt, both on account of their number and excellence. Claude, Parmegiano, Berghem, Paul Potter, Adrian Ostade, and others, have all been dextrous in using the etching point. Rembrandt's performances have all the interest and beauty of finished works; his making use of the dry point, which was unknown before his application of it, gives his etchings that richness and softness peculiar to himself, for the process in the hands of others has never since been attended with the same triumphant success. The etchings consist of three hundred and sixty-five plates, accompanied by two hundred and thirty-seven variations. I can only here give their t.i.tles and dates: the amateur is referred to the descriptive catalogues of Gersaint, Daulby, Bartsch, Claussin, and Wilson. The catalogue by the latter gentleman is the one adopted by the British Museum; I have, however, numbered them according to the Catalogue Raisonne of Rembrandt's Works by Smith, who made use of the arrangement of the Chevalier Claussin. I have also marked those that are of the greatest excellence with a star before the number.

[Ill.u.s.tration: PORTRAIT OF REMBRANDT'S MOTHER]

[Ill.u.s.tration: PORTRAITS OF REMBRANDT AND HIS WIFE]

Portraits of the Artist.

1. Portrait of Rembrandt when a young man, having frizzly hair.

2. Portrait of Rembrandt with moustaches, and wearing a bonnet put sideways on his head.

3. Portrait of Rembrandt, represented with a falcon on his right hand.

4. Portrait of Rembrandt, with frizzly hair, and the head uncovered; remarkable for thick lips and a large nose. Very rare.

5. Portrait of Rembrandt, seen in nearly a front view, with frizzled hair, and the head uncovered.

6. Portrait of Rembrandt when a young man, wearing a fur cap and a black habit.

7. Portrait of Rembrandt when young, seen in a front view, wearing a slouched hat, and a mantle lined with fur. Dated 1631.

8. Portrait resembling Rembrandt, seen in nearly a front view, with moustaches, short curling beard, and frizzled hair.

9. Portrait of Rembrandt when young, seen in a three-quarter view, with the head uncovered and the hair frizzled.

10. Portrait of Rembrandt, seen in a front view, having an expression of grimace.

11. Portrait of Rembrandt, seen in nearly a front view, with a flat bonnet on the head.

12. Portrait of Rembrandt when young, seen in a three-quarter view, with head uncovered, and the hair frizzled. (Oval.)

13. Portrait of Rembrandt when young, with the mouth a little open, the head uncovered, and the hair frizzled. Dated 1630.

14. Portrait of Rembrandt, seen in a front view, having a fur cap, and a mantle bordered with fur. Dated 1631.

15. Portrait of Rembrandt, seen in a three-quarter view, with the head uncovered, and the hair frizzled; he has on a mantle b.u.t.toned in front.

Dated 1631.

16. Portrait of Rembrandt, seen in a front view, wearing a fur cap of a round form, and a mantle. Dated 1631.

17. Portrait of Rembrandt, seen in nearly a front view, having on a bonnet of the usual shape, placed sideways on his head, and a kind of scarf round his neck. Dated 1633.

18. Portrait of Rembrandt, seen in a front view, having on a richly-ornamented cap or turban, and an embroidered robe. He holds a drawn sabre in his hand. Dated 1634.

19. Portraits of Rembrandt and his Wife, on one plate. Dated 1636.

20. Portrait of Rembrandt. He has on a mezetin cap, decked with a feather, and a rich mantle. Dated 1638.

*21. Portrait of Rembrandt, seen in a three-quarter view; he has long curling hair and moustaches; a cap of the usual shape covers the head, and a rich mantle the body. The left arm leans on some stone work. Dated 1639.

*22. Portrait of Rembrandt, seen in a front view, wearing a narrow-brimmed hat, and a plain habit open in front; he is seated at a table, holding a crayon in his hand. Dated 1648.

23. Portrait of Rembrandt, seen in a three-quarter view, with long curling hair; he has on a cap with a small feather in front of it, attached by a ribbon; his mantle is fastened in front by a clasp. Dated 1634. (Oval) (This is the cut plate of the celebrated sabre print.)

24. Portrait of Rembrandt, seen in nearly a front view, having on a fur cap, which covers his forehead to the eyebrows; his curling hair falls on his shoulders, and his robe is bordered with fur. Dated 1630.

25. Portrait of Rembrandt, with the left side of the face strongly shadowed; his frizzled hair falls on the shoulders, and his habit is a little open in front, and lined with fur. Dated 1631.

26. Portrait strongly resembling Rembrandt, seen in a front view, having short frizzled hair, and the mouth a little compressed; he has on a cap, and wears a mantle attached by a little ribbon.

27. Portrait of Rembrandt, closely resembling No. 1. The face is seen in a front view, and the body in a three-quarter position; the hair is frizzled, and a toupee is on the left side; the eyes and forehead are in shadow.

28. Portrait of Rembrandt, seen in a three-quarter view, with a small beard and mustacheos; a cap of the usual shape covers his frizzled hair, and the dress is composed of a mantle bordered with fur. This is placed by Bartsch and Gersaint among the fancy portraits.

29. Portrait resembling Rembrandt when young, seen in a front view, with round face, large nose, the mouth a little open, short frizzled hair, and a cap on the head; his mantle is attached by four b.u.t.tons in front.

Dated 1630.

30. Portrait of Rembrandt (styled by some writers, "t.i.tus, the Son of the Artist.") It represents a young man, with ragged frizzled hair falling on the shoulders. He is dressed in a habit with a collar. Dated 1639.

31. Portrait of Rembrandt, or very like him, when a young man; he has frizzled hair, and wears a fur cap. (Octagon.) This is inserted by other writers among the fancy heads.

32. Portrait closely resembling Rembrandt, seen in a front view, with a cap on; the att.i.tude is that of a person drawing. Engraved very lightly, and almost without shadow, on a narrow plate.

33. Portrait closely resembling Rembrandt, seen in a front view, having on a cap of the usual shape, the top of which is cut off by the edge of the plate. Dated 1630. These figures are ill formed.

Subjects from the Old Testament.

34. Adam and Eve in Paradise; the latter has the forbidden fruit in her hand, which she has received from the tempter, who is seen in the form of a serpent in a tree, with an apple in his mouth. Dated 1638.