File:Rembrandt - his life, his work, and his time (1903) (14598405020).jpg

Identifier: rembrandthislife00mich (find matches)
Title: Rembrandt : his life, his work, and his time
Year: 1903 (1900s)
Authors: Michel, Emile, 1828-1909 Wedmore, Frederick, Sir, 1844-1921
Subjects: Rembrandt Harmenszoon van Rijn, 1606-1669
Publisher: London : Heinemann New York : Scribner
Contributing Library: University of California Libraries
Digitizing Sponsor: Internet Archive

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culiar attraction forhim. He follows themfrom their birth upwards,attaching himself to them,learning the details oftheir career, living theirlives with them; and ashis knowledge of themo^rows, revealinof factsconcerning them, eithernewly discovered, or setforth in some originalform never attempted byany of his predecessors.We have seen that hehad already treated nu-merous episodes in thehistory of Samson. I)iitthis story, with its strata-gems, violence;, and opporUmitics for decorative display, lends itself atbest merely to picturescjue treatment, and even the character of thehero, and the incidents in which he figures, are hardly such as to stirthe feelings ver)- ()eei)lv. In the Pxjok ot lObit, on th(; other hand,the master fountl subjects lottier and more expressive, in which thedeepest and noblest findings of humanity are called into play. Thetenderness, faith, and patient courage ot the oUl man, whose jiietysustains him through the most cruel alfiictions, the devotion he inspires
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KKAOMliNT OK THli SUSANNA IN IHB HAGLf1637. 17« REMBRANDT in his son, the sacrifice of his own happiness involved in the separationfrom this beloved child ; the youths journey with his mysterious com-panion, his adventures by the way, the events connected with hismarriage, the growing anxiety of the parents at his prolonged ab-sence, the reproaches with which the wife assails the blind old man ;his own regrets ; the joy of the return and of the miraculous cure ;the amazement of the family when the angel reveals himself, andvanishes from their sight—all these varied and moving incidentsRembrandt treated, some several times over. Pictures, drawings, andetchings form a series of compositions in which all the essentialfeatures of the poetic cycle are rendered. Some among the paintingswe must allow to be not absolutely above suspicion. The Tobiasrcstoiino his Fat he 7 s sight, in the Arenberg Gallery, for instance,duly signed, and dated 1634 or 1636 (the last hgure is almost illegible),

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