"Rembrandt" Quotes from Famous Books
 ... nose; her scanty locks straggled from under the handkerchief which she wore round her head. Her employment and the wistful far-away look she cast upon the expanse below made a very fine ensemble. "She would have afforded," as Sir Walter Scott says, "a study for a Rembrandt, had that celebrated painter existed at the period," {9} but she must have been a smart-looking handsome ...
— Alps and Sanctuaries of Piedmont and the Canton Ticino • Samuel Butler
... old his parents recalled him to Saint-Lons, in order to send him to the school kept by his godfather, Pierre Ricard, the village schoolmaster, "at once barber, bellringer, and singer in the choir." Rembrandt, Teniers, nor Van Ostade never painted anything more picturesque than the room which served at the same time as kitchen, refectory, and bedroom, with "halfpenny prints papering the walls" and "a huge chimney, for which each had to bring his ...
— Fabre, Poet of Science • Dr. G.V. (C.V.) Legros
... copies, in water colours, have also been done from it by Miss Sharpe, and Miss Fanny Corbaux. Much praise is due to Mr. Morton, for his whole length Portrait of a Gentleman, after Vandyke; and Messrs. Simpson, Higham, and Middleton, deserve high commendation for executing the best fac similia of Rembrandt's Portrait of a Lady. The Landscape with Boors, is a delightful little picture by Teniers, belonging to his Majesty: numerous attempts have been made to imitate it, but not altogether with success. Mr. Hart's copy, however, is extremely ...
— The Mirror of Literature, Amusement, and Instruction - Volume 14, No. 396, Saturday, October 31, 1829. • Various
... Rembrandt have in common the faculty of quickening speculation and compelling the minds of men to combat and discussion. About the English poet a literature of contention has been in process of accretion ever since he was discovered to be Shakespeare; and about the Dutch ...
— Views and Reviews - Essays in appreciation • William Ernest Henley
... Den, the other from the seaward opening in the rocks—and falling together, in cross directions on the black rugged walls of the cave and the beautiful marine ferns growing from them, is supernaturally striking and grand. Here, Rembrandt would have loved to study; for here, even his sublime perception of the poetry of light and shade might have received a new impulse, and learned from the teaching of Nature one ...
— Rambles Beyond Railways; - or, Notes in Cornwall taken A-foot • Wilkie Collins
... a century the Dutch were the laughing-stock of polite Europe. They were butter-firkins, swillers of beer and schnapps, and their vrouws from whom Holbein painted the all but loveliest of Madonnas, Rembrandt the graceful girl who sits immortal on his knee in Dresden, and Rubens his abounding goddesses, were the synonyms of clumsy vulgarity. Even so late as Irving the ships of the greatest navigators in the world were represented as sailing equally well stern-foremost. That ...
— The Best of the World's Classics, Restricted to Prose, Vol. X (of X) - America - II, Index • Various
... will save the sex: All are massed in one common sentence: all bad. There may be Delilahs: there are many Ruths. We should not lightly give them up. Napoleon lost France when he lost Josephine. The one light in Rembrandt's gloomy life ...
— Friends and Neighbors - or Two Ways of Living in the World • Anonymous
... Beethoven. A life-size portrait of him can be seen in the Plantin Musee, and if you did not know that the picture was painted before Beethoven was born, you would say at once, "Beethoven!" There is a look of stern endurance, as if the artist had admired Rembrandt's "Burgomaster" a little too well, yet that sturdiness belonged to the Master, too; and there are the abstracted far-away look, the touch of proud melancholy, and the becoming unkemptness ...
— Little Journeys to the Homes of the Great - Volume 14 - Little Journeys to the Homes of Great Musicians • Elbert Hubbard
... difference between these two pictures. Life and death and the future are what each man makes of them for himself. We shall best deal with these two pictures if we take them separately, and let the gloom of the one enhance the glory of the other. They hang side by side, like a Rembrandt beside a Claude or a Turner, each intensifying by contrast the characteristics of the other. So let us look at the two—first, the grim picture drawn by the Psalmist; second, the sunny one drawn by the Seer. Now, with regard ...
— Expositions Of Holy Scripture - Volume I: St. Luke, Chaps. I to XII • Alexander Maclaren
... white cuffs. The plain severity of this costume set off the bright coloring of her face and hair to wonderful advantage. In the dingy, ill-lighted restaurant she was like that serene, golden, glowing light that Rembrandt alone has known how to place among shadows. And her temper was so sweet, and her disposition so childlike and gentle, that one by one the waitresses who hated her for her popularity and her quick success ...
— IT and Other Stories • Gouverneur Morris
... and metaphorically; but he is a philosopher—I'll stake my reputation as an observer on that—he just shrugs his sturdy old shoulders, and goes on mending clocks and watches. On dark days he works by a gas jet—and then Rembrandt would enjoy painting him. I look at him whenever my world is particularly awry, and find him highly beneficial. Davison has forwarded me to-day two letters from readers of 'Lynwood.' The first is from an irate female who takes me to task for the dangerous tendency of the story, ...
— Derrick Vaughan—Novelist • Edna Lyall
... we do not find that great artists of the past addressed themselves to children. Are there any children's books illustrated by Duerer, Burgmair, Altdorfer, Jost Amman, or the little masters of Germany? Among the Florentine woodcuts do we find any designed for children? Did Rembrandt etch for them, or Jacob Beham prepare plates for their amusement? So far as I have searched, no single instance has rewarded me. It is true that the naivete of much early work tempts one to believe that it was designed for babies. ...
— Children's Books and Their Illustrators • Gleeson White
... a quadrilateral jewel of Flemish architecture of the end of the sixteenth century. It was of old the central point of the city, where the armed citizens met who patrolled the streets like the burghers of Rembrandt's magnificent 'Ronde de Nuit.' A gallery runs round it of arcades, and brickwork supported by monolithic columns. Above these arcades runs a frieze of trophies of arms with the attributes of St. James—the mayor of the city in whose time it was built bore the name of ...
— France and the Republic - A Record of Things Seen and Learned in the French Provinces - During the 'Centennial' Year 1889 • William Henry Hurlbert
... The fire glowed in its deep recess like the eye of an old-world monster in a cavern, till one of the boys seized the poker and made it flame up, throwing its blaze out as far as it could for its walls, and making the kitchen and the group standing in it like a picture by Rembrandt. ...
— Lippincott's Magazine of Popular Literature and Science Vol. XV., No. 85. January, 1875. • Various
... shifted his position, leaning his weight against the tall pillar of the gallery. He could see her plainly. In the light from the hall half her features were now thrown into Rembrandt lighting. The roll of dark hair framed her face, highbred, aristocratic, yet wholly human and sweet. Gravity sat on all her features; a woman for thought, said they. A woman for dreams; so declared the fineness ...
— The Purchase Price • Emerson Hough
... settled, had already disappeared; but, agreeably to one of the mysterious laws by which nature is governed, a rich second growth, that included nearly every variety of American wood, had shot up in their places. The rich Rembrandt-like hemlocks, in particular, were perfectly beautiful, contrasting admirably with the livelier tints of the various deciduous trees. Here and there, some flowering shrub rendered the picture gay, while masses of the rich chestnut, in blossom, ...
— Home as Found • James Fenimore Cooper
... a tall, straight, wiry, lean old man. His oval face was lined with innumerable wrinkles, which formed a net-work over his cheek-bones and above his eyebrows, giving to his face a resemblance to those choice old men whom Van Ostade, Rembrandt, Mieris, and Gerard Dow so loved to paint, in pictures which need a microscope to be fully appreciated. His countenance might be said to be sunken out of sight beneath those innumerable wrinkles, produced by a life in the open air and by the habit of ...
— Beatrix • Honore de Balzac
... like), whom the Duchess has summoned over. By the dim lucency of Putter, faint to most of us as a rushlight in the act of going out, the available part of our imagination must try to figure, in a kind of Obliterated-Rembrandt way, this glorious Evening; for there was but one,—December 3d-4th,—Friedrich having to leave early on the 4th. Here is Putter's record, given in the ...
— History of Friedrich II. of Prussia, Vol. XX. (of XXI.) • Thomas Carlyle
... S. Cummings, Edward Potter, Charles C. Wright, Mosely J. Danforth, Hugh Reinagle, Gerlando Marsiglia. These fifteen professional artists added by ballot to their number the following fifteen:—Samuel Waldo, William Jewett, John W. Paradise, Frederick S. Agate, Rembrandt Peale, James Coyle, Nathaniel Rogers, J. Parisen, William Main, John Evers, Martin E. Thompson, Thomas Cole, John Vanderlyn (who ...
— Samuel F. B. Morse, His Letters and Journals - In Two Volumes, Volume I. • Samuel F. B. Morse
... observe his "inexhaustible inventiveness in pose and attitude." For each new picture he seemed always to have ready some new compositional motive. Claude Phillips goes so far as to say that in the whole range of art Rembrandt alone is his equal in this respect. This versatility was due in a measure to his story-telling instinct. His imagination seemed to weave some story about each sitter which the picture was intended, as it were, to illustrate. From Lord Heathfield, refusing to yield the keys of Gibraltar, to ...
— Sir Joshua Reynolds - A Collection of Fifteen Pictures and a Portrait of the - Painter with Introduction and Interpretation • Estelle M. Hurll
... and a promoter, though of a much more substantial sort than his fiction namesake. He was also a painter of considerable merit, a writer and an antiquarian. He was said to have been a grandson of the famous painter, Rembrandt Peale. ...
— Mark Twain, A Biography, 1835-1910, Complete - The Personal And Literary Life Of Samuel Langhorne Clemens • Albert Bigelow Paine
... in the shadows turned and walked quickly away to another fire-glow with its ring of Rembrandt figures and faces, and none save Valencia knew that it was Manuel gone to tell his master what had been said. ...
— The Gringos • B. M. Bower
... were to name one pursuit rather than another, I should wish you to be a good painter, if such a thing could be hoped. I have failed in this myself, and should wish you to be able to do what I have not—to paint like Claude, or Rembrandt, or Guido, or Vandyke, if it were possible. Artists, I think, who have succeeded in their chief object, live to be old, and are agreeable old men. Their minds keep alive to the last. Cosway's spirits ...
— Selected English Letters (XV - XIX Centuries) • Various
... In Rembrandt Peale's picture of the Court of Death a cadaverous shape lies for judgment at the foot of the throne, touching at either extremity the waters of Lethe. There is something similar in the history of the greatest of Spanish writers. ...
— Castilian Days • John Hay
... a definite object of interest. This is usually the hand, with or without an implement—like the palette, etc., of our first examples—or a jewel, vase, or bit of embroidery. This is very characteristic of the portraits of Rembrandt ...
— Harvard Psychological Studies, Volume 1 • Various
... made a fine picture, worthy of Rembrandt, the gloomy winding stairs illuminated by the reddish glare of the cresset of Gryphus, with his scowling jailer's countenance at the top, the melancholy figure of Cornelius bending over the banister to look down ...
— The Black Tulip • Alexandre Dumas (Pere)
... quaint old jar overflowed with the brightness of fresh yellow daffodils; in another a long, tapering Venetian vase held feathery clusters of African grass and fern, . . here the medallion of a Greek philosopher or Roman Emperor gleamed whitely against the sombrely painted wall; there a Rembrandt portrait flashed out from the semi-obscure background of some rich, carefully disposed fold of drapery,—while a few admirable casts from the antique lit up the deeper shadows of the room, such as the immortally youthful head of the Apollo Belvedere, the wisely serene ...
— Ardath - The Story of a Dead Self • Marie Corelli
... flame, Glancing, lit up a Picture's ancient frame. Above the hearth it hung. Perhaps the night, My foolish tremors, or the gleaming light, Lent power to that Portrait dark and quaint— A Portrait such as Rembrandt loved to paint— The likeness of a Nun. I seemed to trace A world of sorrow in the patient face, In the thin hands folded across her breast— Its own and the room's shadow hid the rest. I gazed and dreamed, and the dull embers stirred, Till an old legend that I once had heard Came back ...
— Legends and Lyrics: Second Series • Adelaide Anne Procter
... in her Louis Seize gown of pink brocade, and a Rembrandt hat with a long white feather (Jacquemin, who remained below, had already written down the description in his note-book), the little Baroness entered Marsa's room like a whirlwind, embracing the young girl, and going ...
— Serge Panine • Georges Ohnet
... bright oil portrait, but recently painted by Mr. Rembrandt Peale, was taking the sunlight upon its warm brunette cheeks, in full sight of the bridegroom, and the thick rag carpet warmed the floor, and Virgie had made a second errand to Teackle Hall, and brought back the lady's rocking-chair that Milburn so much ...
— The Entailed Hat - Or, Patty Cannon's Times • George Alfred Townsend
... predominant, and to which form shall be quite subservient, and little more of it than such as chiaro-scuro shall give; and in such a case colour is the more important truth, because in it lies the sentiment of the picture. The mystery of Rembrandt would vanish were beauty of form introduced in many of his pictures. We remember a picture, the most impressive picture perhaps ever painted, and that by a modern too, Danby's "Opening of the Sixth Seal." Now, though there are fine parts in this picture, ...
— Blackwood's Edinburgh Magazine, No. CCCXXXVI. October, 1843. Vol. LIV. • Various
... gray blouse, occupied the back benches. The larger number of the prisoners grouped here and there, some seated on the ground, others standing, and leaning against the walls, composed the background of this picture, lighted, after the manner of Rembrandt, by the three lateral windows, which cast a vivid light and deep shade on these figures, so differently characterized ...
— Mysteries of Paris, V3 • Eugene Sue
... The country was joyless; man's life is joyless in Ireland. In every other country there were merry-makings. "You have only to go into the National Gallery," he said, "to see how much time the Dutch spent in merry-makings." All their pictures with the exception of Rembrandt's treated of joyful subjects, of peasants dancing under trees, peasants drinking and singing songs in taverns, and caressing servant girls. Some of their merry-makings were not of a very refined character, but the ordinary man is not refined, and in the most refined men there is often admiration ...
— The Untilled Field • George Moore
... detestable. Then the letters are nothing more than a transparency lighted up, such as a Lord might order to be lit up, on a sudden at a Xmas Gambol, to scare the ladies. The type is as plain as Baskervil's—they should have been dim, full of mystery, letters to the mind rather than the eye.—Rembrandt has painted only Belshazzar and a courtier or two (taking a part of the banquet for the whole) not fribbled out a mob of fine folks. Then every thing is so distinct, to the very necklaces, and that foolish little prophet. What one point is there of interest? The ideal of such a subject ...
— The Works of Charles and Mary Lamb (Vol. 6) - Letters 1821-1842 • Charles and Mary Lamb
... carelessly, "and old age are synonymous. You and I ought not to have any souvenirs. Have you seen the picture gallery? No? Then I shall have the pleasure of showing it to you. Monseigneur is very proud of his gallery. He has a Leonardo, a Botticelli, a Murillo, and a Rembrandt. And they really show better in artificial light, which softens ...
— The Puppet Crown • Harold MacGrath
... lighted up the sky that night. The little thatch houses, and the children in their quaint garbs moving against the flames composed a strange Oriental Rembrandt picture. ...
— Flash-lights from the Seven Seas • William L. Stidger
... the saints, the ecstatic visions which framed their poor lives in gold. Only, still reflecting the glory, as eastern mountains the sunken sun, came a few sympathetic souls kindling into like glow, with faint perception of what had passed from the whole world beside. Velasquez, Rubens, Rembrandt, Watteau, Reynolds, Gainsborough, Turner, and Delacroix, kept the line of color, now at last utterly extinguished. Now we reason, now we see facts; sentiment is out of joint, and appearances are known to be liars; we have found the greater substance; we kindle with the utilities, ...
— The Atlantic Monthly, Vol. 12, No. 74, December, 1863 • Various
... quarter. His nymphs will have no taste of their woods and waters; his gods and goddesses be only so many fair or frowning ladies and gentlemen, such as we see in ordinary paintings; he will be in no danger of having his angels likened to a sort of wild-fowl, as Rembrandt has made them in his Jacob's Dream. His Bacchuses will never remind us, like Titian's, of the force and fury, as well as of the graces, of wine. His Jupiter will reduce no females to ashes; his fairies be nothing fantastical; his gnomes not 'of the earth, earthy'. And this again will be wanting ...
— English Critical Essays - Nineteenth Century • Various
... the seventeenth century, painting had declined south of the Alps, Dutch and Flemish masters,—above all, Rubens and Rembrandt,—developed a new and admirable school of painting. To Van Dyck, another Flemish master, we owe many noble portraits of historically important persons.[244] Spain gave to the world in the seventeenth century a painter whom some would rank higher than even the greatest artists ...
— An Introduction to the History of Western Europe • James Harvey Robinson
... parts of his frame, while the rest of him was thrown into shadow, so deep that it would have appeared black, but for the deeper shade by which it was surrounded—the whole scene presenting a grand Rembrandt effect. ...
— Deep Down, a Tale of the Cornish Mines • R.M. Ballantyne
... etchings, mezzotint, and other intaglio plates is the same to-day as it was in the time of Rembrandt and Durer. The modern inventor has found no way to economize time, labor, or expense in the work—excepting that in the case of postage stamps, bond certificates, and similar plates, which are printed in vast quantities, the work has been adapted ...
— The Building of a Book • Various
... one of his moods, 'Few and evil have been the days of the years of my life!' Yes! and the same man, when he was in a better spirit, said, and a great deal more truly, 'The God that fed me all my life long, the Angel which redeemed me from all evil.' Do not paint like Rembrandt, even if you do not paint like Turner. Do not dip your brush only in the blackness, even if you cannot always dip it ...
— Expositions Of Holy Scripture - Volume I: St. Luke, Chaps. I to XII • Alexander Maclaren
... twenty-four years of age. Van den Brink was a leading critic of the Romanticists; Hasebrock, author of a volume of essays called "Truth and Dream," has been likened to the English Charles Lamb. Vosmaer is another eminent figure in Dutch literature; he wrote a "Life of Rembrandt" which is a masterpiece of biography. Kuenen, who died but ten years ago, was a biblical critic of European celebrity. But the list of contemporary Dutch writers is long and brilliant, and the time to speak critically of them ...
— Holland - The History of the Netherlands • Thomas Colley Grattan
... His back was toward me. The lamp's rays threw a strong light on his delicate hand, on the workmanlike pose of his head, which it surrounded with a nimbus, and on a painting—a woman's head—which he was copying. He looked superb like that, and I thought how doubly tempted Rembrandt would have been by the deep significance as well as by the chiaroscuro ...
— The Ink-Stain, Complete • Rene Bazin
... it can never henceforth be forgotten—would he have had one hundredth part of the life he now lives had he not been linked awhile with one of those heaven-sent men who know che cosa e amor? Look at Rembrandt's old woman in our National Gallery; had she died before she was eighty-three years old she would not have been living now. Then, when she was eighty-three, immortality perched upon her as a bird ...
— Essays on Life, Art and Science • Samuel Butler
... One hundred and three prints by Albert Duerer, in two lots, sold for one pound, ten shillings and sixpence, and a large collection of woodcuts by the same artist for half a crown. Twenty-four etchings by Rembrandt, in four lots, realised but three pounds, five shillings; while eleven shillings and sixpence was all that could be got for thirty-four heads and ...
— English Book Collectors • William Younger Fletcher
... shelves edged with leather; not to mention engravings of distinguished men and old portraits in heavy gilt frames: one of his grandfather who fought in the Revolution, and another of his mother—this last by Rembrandt Peale—a dear old lady with the face of a saint framed in a head of gray hair, the whole surmounted by a cluster of silvery curls. There were quaint brass candelabra with square marble bases on each end of the mantel, holding candles showing burnt ...
— Peter - A Novel of Which He is Not the Hero • F. Hopkinson Smith
... should not be missed, as it contains a very interesting Museum of natural history; Egyptian, Grecian, Etruscan, and Roman antiquities; and a fine gallery of paintings, including some of the best works of Vandyke, Raphael, Paul Veronese, Guido, Titian, Rembrandt, Guercino, Carlo Dolci, and other ...
— Fair Italy, the Riviera and Monte Carlo • W. Cope Devereux
... twilight by the thick foliage, with the old houses all about us, seemed to invite reminiscence, or dreams of the stern and respectable old burghers and burgesses in sombre clothing, wide brimmed hats, and stiffly starched linen ruffs about their necks as rendered by Rembrandt, Hals, Rubens and Jordaens. They must have been veritable domestic despots, magnates of the household, but certainly there must have been something fine about them too, for they are most ...
— Vanished towers and chimes of Flanders • George Wharton Edwards
... the life of this artist, but his master was doubtless his uncle, van Ruisdael. Hobbema was dead a hundred years before the world acknowledged his genius, thus he reaped no reward for hard work and ambition. He, like Rembrandt, died in great poverty, and with nearly the same surroundings. Rembrandt died forsaken in Roosegraft Street, Amsterdam, and Hobbema died in the same locality. We must speak chiefly about his work, since we know little of his ...
— Pictures Every Child Should Know • Dolores Bacon
... Susan R. Echard, daughter of Colonel Read, now (1860) living in Philadelphia, at the age of eighty-four years. The venerable Rembrandt Peale, of the same city, who, two years before, painted Washington's portrait from life, and now in his eighty-third year, was also present in the gallery on that occasion, and his recollection agrees with that ...
— Washington and the American Republic, Vol. 3. • Benson J. Lossing
... fireplace is on the left. At the nearest corner of it a couch is placed at right angles to the wall, settlewise. On the right the wall is occupied by a bookcase, further forward than the green baize door. Beyond the door is a cabinet of anatomical preparations, with a framed photograph of Rembrandt's School of Anatomy hanging on the wall above it. In front, a little to the ...
— The Philanderer • George Bernard Shaw
... poetry. He had no ear for music, though he seemed to get a certain exaltation from listening to it. In regard to painting and sculpture he always professed himself incompetent, but he was not without decided tastes. On his first visit to the Continent he was more attracted by Rembrandt, Holbein, and Duerer than by the Italians; "these men," he said, "grasped the idea of Christianity." Of Durer's four saints at Munich he writes, "I could contemplate them with interest for hours; he has contrived to give St. John an almost perfect expression of 'divine ...
— An Estimate of the Value and Influence of Works of Fiction in Modern Times • Thomas Hill Green
... only original form of painting that modern times can boast. It has not exhausted itself yet; it is capable of infinite development. Ruysdael, Rembrandt, and the rest, did great scenes, it is true, but it has been left to our painters to put soul into the sunshine of a cornfield, and suggest a whole life of labour in a dull evening sky hanging over a brown ploughed upland, with the horses going tired ...
— Wisdom, Wit, and Pathos of Ouida - Selected from the Works of Ouida • Ouida
... history would find left her to record but with bated breath." He recalls again "the particular sweetness of wonder" with which he haunted certain pictures in the National Gallery, but it is himself, not the National Gallery, that he writes about. Of Titian and Rembrandt and Rubens he communicates nothing but the fact that "the cup of sensation was thereby filled to overflowing." He does, indeed, give a slender description of his first sight of Swinburne in the National Gallery, but the chief fact even of this incident ...
— Old and New Masters • Robert Lynd
... Florence, and the galleries of Paris and Rome. A simple list of the pictures to be found here would cover many pages in print, embracing the names of such artists as Salvator Rosa, Giorgone, Bassano, Perugino, Carlo Dolce, Guido Reni, Rembrandt, Andrea del Sarto, Van Dyck, etc. All of these paintings are high in artistic merit; many of them are admirable, and all are beyond price in money. Various schools are represented in the galleries, and there are among ...
— Foot-prints of Travel - or, Journeyings in Many Lands • Maturin M. Ballou
... understand how an amoeba makes its test; no one understands how anything is done unless he can do it himself; and even then he probably does not know how he has done it. Set a man who has never painted, to watch Rembrandt paint the Burgomaster Six, and he will no more understand how Rembrandt can have done it, than we can understand how the amoeba makes its test, or the protoplasm cements two broken ends of a piece of bone. Ces choses se font mais ne s'expliquent pas. So some denizen of another planet looking ...
— Luck or Cunning? • Samuel Butler
... an atelier where a number of art and music students had gathered to discuss chiaroscuro, Wagner, music, Rembrandt's works, pictures, Waldteufel, wall ...
— The Four Million • O. Henry
... is by Rembrandt; but I tell him I don't think it was by a Frenchman at all, I think it ...
— The Smart Set - Correspondence & Conversations • Clyde Fitch
... a dark deposit over all the building, except the upper and more exposed parts, where the original silvery whiteness of the stone shows through, the effect of the whole thus being like one of those graphic Rembrandt photographs or carbons, the prominences in a strong light, and the rest in deepest shadow. I was never tired of looking at this noble building, and of going out of my way to walk around it; but I am at a loss to know whether the pleasure I had in it arose from my love of nature, ...
— Winter Sunshine • John Burroughs
... the Accademia. Early Flemish painting, in fact, in addition to its own peculiar charm of microscopic delicacy of finish, is hardly inferior, in contrast with the later strong realism and occasional coarseness of Rubens or Rembrandt, to the tender poetic dreaminess of the primitive Italians. Certainly these pictures, though finished to the minutest and most delicate detail, are lacking in realism actually to a degree that borders on a delicious absurdity. St. Ursula and her maidens—whether ...
— Beautiful Europe - Belgium • Joseph E. Morris
... in its belief in the ideal and in its insistence upon type rather than individuality it is Classic. In the fact that it is so it fails in intimacy of mood—just the intimacy that is the soul of Keene's art, which descends from Rembrandt's. But this point will come up for consideration farther on. Here it only concerns us in its connection with the psychology of the people it interprets in satire. There is the psychology of individuals and the psychology of a whole society—the latter ...
— George Du Maurier, the Satirist of the Victorians • T. Martin Wood
... you think of that Rembrandt?" said he, pointing to a picture onthe wall. "Exquisite picture! The grandeur of sentiment and splendor of chiaroscuro are of the first order. Just observe the liquidity of the water, and the silveryness of the clouds! Great power! There is a bravura of handling in that ...
— Hyperion • Henry Wadsworth Longfellow
... Coast (fishermen in foreground), by Salvator Rosa; Nativity, by Carlo Dolce; Virgin Enthroned, by Paul Veronese; Third Earl Cowper and His Family; First Earl Cowper, by Sir Godfrey Kneller; Francis Bacon, by Van Somer; Turenne, by Rembrandt; Charles Villiers, Duke of Buckingham, by Janssens. The whole collection is worth careful study. Permission to view may be obtained when ...
— Hertfordshire • Herbert W Tompkins
... accidental presence of this or that ferment decides in which way it shall evolve. Why, the very birds of the forest, the parrot, the mino, have the power of human speech, but never develop it of themselves; some one must be there to teach them. So with us individuals. Rembrandt must teach us to enjoy the struggle of light with darkness, Wagner to enjoy peculiar musical effects; Dickens gives a twist to our sentimentality, Artemus Ward to our humor; Emerson kindles a new moral light within us. But it is like ...
— The Will to Believe - and Other Essays in Popular Philosophy • William James
... elevation in themselves turgid and unnatural. Nature is never more truly herself than in her grandest form. The Apollo of Belvedere (if the universal robber has yet left him at Belvedere) is as much in nature as any figure from the pencil of Rembrandt, or any clown in the rustic revels of Teniers. Indeed, it is when a great nation is in great difficulties that minds must exalt themselves to the occasion, or all is lost. Strong passion, under the direction of a feeble reason, feeds a ...
— Selections from the Speeches and Writings of Edmund Burke. • Edmund Burke
... his subject admits of its attainment, as on the other hand I know not that the habitual use of dark backgrounds can be shown as having ever been co-existent with pure or high feeling, and, except in the case of Rembrandt, (and then under peculiar circumstances only,) with any high power of intellect. It is however necessary carefully to observe the following modifications ...
— Modern Painters Volume II (of V) • John Ruskin
... admiration, not so much for particular practices as for the common and lofty spirit in which the greatest of the world's painters labored. The colorists and chiaroscurists, such as Titian on the one hand and Rembrandt on the other, seem to have impressed him particularly, and of all men Titian the most strongly, as many of his pictures testify, and as such glowing works as the Arethusa and the Boy and Bird unmistakably show. Yet it was not in matter or in manner, but in the expression of a great truth, that ...
— The Bay State Monthly, Volume I. No. VI. June, 1884 - A Massachusetts Magazine • Various
... this moral and tasteful discrimination seems to have been wholly wanting," &c. The 'forties were the days when critics still talked learnedly of the "noble style," &c., "the vulgar," of "sinking" or "rising" with "the subject," the days when Books of Beauty were in fashion, and Rembrandt's choice of beggars, wrinkled faces and grey hairs, for his favourite subjects seemed a low and reprehensible taste in "high art." Though critics to-day still ingenuously confound an artist's subject with his treatment of it, and ...
— The Life, Adventures & Piracies of the Famous Captain Singleton • Daniel Defoe
... city is in keeping with its setting. The quaint, mysterious houses, inclosing sunny gardens and tree-planted court-yards; the great cathedral where, in the dusk of evening, at vespers, one may see each night new wonders, Rembrandt-like, beautiful, in light and shade; the church of St. Francis, and the old ruined church beside it—built, first of all, in honor of the saint who had guided the Viceroy's commissioners so well; the bowery plaza, with the ...
— Stories by American Authors, Volume 10 • Various
... smoke of pipes, and is stifling with the reeking breath of its inmates. A single flaring gas jet dimly lights the scene, which is one Rembrandt or Moreland and Keisel would have loved ...
— Rolling Stones • O. Henry
... brings all to bear on the same end; and declaring he would not give a rush for any landscape that did not express the time of day, the climate, the period of the world it was meant to illustrate, or had not this character of wholeness in it. His eye also does justice to Rembrandt's fine and masterly effects. In the way in which that artist works something out of nothing, and transforms the stump of a tree, a common figure into an ideal object, by the gorgeous light and shade thrown upon it, he perceives an ...
— Hazlitt on English Literature - An Introduction to the Appreciation of Literature • Jacob Zeitlin
... balcony itself, which by means of two glass doors opened directly from the room behind it. Here two men sat, or rather half reclined in easy-cushioned lounge chairs, their faces turned towards the Mall, so that the illumination from the apartment in the background created a Rembrandt-like effect in partially concealing the expression of the one from the other's observation. Outwardly, and at a first causal glance, there was nothing very remarkable about either of them. One was old; the other more than middle-aged. Both were in evening-dress,—both ...
— The Treasure of Heaven - A Romance of Riches • Marie Corelli
... I am just in the middle of your Rembrandt. The taste for Bummkopf and his works is agreeably dissembled so far as I have gone; and the reins have never for an instant been thrown upon the neck of that wooden Pegasus; he only perks up a learned snout from a footnote in the cellarage of a paragraph; just, ...
— The Letters of Robert Louis Stevenson - Volume 1 • Robert Louis Stevenson
... end; only once did a suggestion of sentiment—curt pity for that gin-besotted thing, the prisoner!—obtrude itself; then it passed so quickly his lordship forgot to intervene, and the effect remained, a flash, illuminating, Rembrandt-like! ...
— Half A Chance • Frederic S. Isham
... 'Adoration of the Lamb,' you know—that magnificent panel picture. And then we went to Brussels, where we had Dierick Bouts and all the later Flemings; and to Antwerp for Rubens and Vandyck and Quentin Matsys; and the Hague, after that, for Rembrandt and Paul Potter; and Amsterdam, in the end, for Van der Heist and Gerard Dow and the late Dutch painters. So, you see, we had quite an artistic tour; we followed up the development of Netherlandish art from beginning to end in historical order. It ...
— Stories by English Authors: The Sea • Various
... time, he climbed the cellar stair, pushed open the door, and looked out. Partly in the bright sunlight and partly in the deep shadows, he resembled a painting by Rembrandt. ...
— Defenders of Democracy • The Militia of Mercy
... seemed to leave the arras and to approach the bed of the slumberer. As he drew near, his figure appeared to alter. His bugle-horn became a brazen clasped volume; his hunting-cap changed to such a furred head-gear as graces the burgomasters of Rembrandt; his Flemish garb remained but his features, no longer agitated with the fury of the chase, were changed to such a state of awful and stern composure, as might best portray the first proprietor ...
— The Antiquary, Complete • Sir Walter Scott
... dark corner of the terminus, out of the rays of the glittering arc lamps, and watched engine Number Eighty-six. The engineer was oiling her, and the fireman, as he opened the furnace-door and shovelled in the coal, stood out like a red Rembrandt picture in the cab against the darkness beyond. As the engineer with his oil can went carefully around Number Eighty-six, John Saggart drew his sleeve across his eyes, and a gulp came up his throat. ...
— The Face And The Mask • Robert Barr
... retreating gallant, and the sudden spring of the scalded monkey, are admirably expressed. To represent an object in its descent, has been said to be impossible; the attempt has seldom succeeded; but, in this print, the tea equipage really appears falling to the floor; and, in Rembrandt's Abraham's Offering, in the Houghton collection, now at Petersburg, the knife dropping from the hand of the patriarch, appears in a ...
— The Works of William Hogarth: In a Series of Engravings - With Descriptions, and a Comment on Their Moral Tendency • John Trusler
... worthy authority has contested the authenticity of the portrait of a young man in the Brussels Museum. It is not signed, this beautiful head, and at one time it was in the English collections of Humphry Ward and Peter Norton, and later in the Collection Otlet at Brussels. Smith catalogued it as a Rembrandt; indeed, it had the false signature of the great master. Much later it was accredited to Jan Victoors, a Rembrandt pupil, and to Nicolas Maes, and under this name was sold in Paris in 1900. A. J. Wauters finally declared it a ...
— Ivory Apes and Peacocks • James Huneker
... the large, handsome head; and the angry tones of her voice would have been welcome sounds in the house where she had so long tyrannized. To-day, as Ulpian Grey sat in his own little sitting-room, his eyes were fixed on a copy of Rembrandt's Nicholas Tulp, which hung over the mantelpiece; but the mysteries of anatomy no longer riveted his attention, and his thoughts were busy with memories of a fond though wayward girl, whom his indifference ...
— Vashti - or, Until Death Us Do Part • Augusta J. Evans Wilson
... that it is not; and this last question I merely ask to avoid all answers on the score of authority. No doubt that strange work is one of the most realising pictures ever painted,—more so than any neighbouring Rembrandt,—whose masses of light and shade were used as a "creative power." I want to know whether there is a right and wrong in the case, apart from every thing men call taste. Whether, whenever a work of art passes from suggestion to imitation, some liberty must not be given ...
— Notes and Queries, Number 20, March 16, 1850 • Various
... Manasseh's "Conciliator" from Spanish into Latin. This, the most important of Manasseh's early writings, was as popular with Christians as with Jews, for it attempted to reconcile the discrepancies and contradictions apparent in the Bible. Another of his friends was the painter Rembrandt, who, in 1636, etched the portrait of Manasseh. Huet and Grotius were also among the friends and disciples who gathered round the ...
— Chapters on Jewish Literature • Israel Abrahams
... velveteen affectation about his easy get-up. He was an artist, to be sure, but he hadn't assiduously and obtrusively dressed his character. Instead of cutting his beard to a Vandyke point, or enduing his body in a Titianesque coat, or wearing on his head a slouched Rembrandt hat, stuck carelessly just a trifle on one side in artistic disorder, he was habited, for all the world like anybody else, in the grey tweed suit of the common British tourist, surmounted by the light felt hat (or bowler), ...
— What's Bred In the Bone • Grant Allen
... head of the big black-oak table in his big stately library. The large lamps on either end of the table stood in old cloisonne vases of dull rich reds and bronzes, and their shades were of thick yellow silk. The light they cast on the six anxious faces grouped about them was like the light in Rembrandt's picture of The Clinic. ...
— The Militants - Stories of Some Parsons, Soldiers, and Other Fighters in the World • Mary Raymond Shipman Andrews
... loud, angry tone, jarred on his every sense like a discord in music, or an inharmonious color; so he never used them. But as he ran upstairs, three steps at a time, after his kind, off-hand words to Marty, he said to himself, "Good heavens! I do believe Marty gets uglier every day. What a picture Rembrandt would have made of her old face peering out into the darkness there to-night! She would have done for the witch of Endor, watching to see if Samuel were coming up." And as he went down more slowly, revolving in his mind what plausible excuse ...
— Mercy Philbrick's Choice • Helen Hunt Jackson
... numbered few women among his imitators. The women of his day and country affected pleasing delineations of superficial motives, and Rembrandt's earnestness and intensity were seemingly above their appreciation—certainly far ...
— Women in the fine arts, from the Seventh Century B.C. to the Twentieth Century A.D. • Clara Erskine Clement
... landscapes too, however natural, are mere Dutch nature (with some brilliant exceptions), fat cattle, clipped trees, boors, and windmills. Of course I am not speaking of Vandyke, nor of Rubens, he that "in the colours of the rainbow lived," nor of Rembrandt, that king of clouds and shadows; but for mine own part, I would give up all that Mieris, Netscher, Teniers, and Gerard Douw ever produced, for one of Claude's Eden-like creations, or one of Guido's lovely heads—or ...
— The Diary of an Ennuyee • Anna Brownell Jameson
... Rembrandt—"the School of Anatomy," and stood for a long time looking at the wonderful faces—faces in whose eyes each thought lay clear to read. What a picture! A man who had done nothing else all his life long but paint just that, would ...
— The Chauffeur and the Chaperon • C. N. Williamson
... the curve of the shoulder or to the poise of the head who proved, in the eyes of his fellow- students, his possession of an ancestry: but the ancestry was one that skipped over the Mayflower and went straight back to the great Michael and Rembrandt. ...
— The Fortunes of Oliver Horn • F. Hopkinson Smith
... it may seem, the mind of the hireling cannot grasp the importance of the lesser tasks that go to make up the sum of existence. If you allow Bridget to prepare your guest chamber for an unexpected friend, you will observe that she glories in Rembrandt-like effects,—which, when viewed at a distance, assume a respectable appearance. You, with brains back of your hands, will notice that there is a tiny hole in the counterpane, dust under the table, ...
— The Secret of a Happy Home (1896) • Marion Harland
... the cool of the veranda Miss Sternberger strolled over to the railing and leaned her back against a white wooden column. Her eyes, upslanting and full of languor, looked out over the toiling, moiling ocean. She was outlined as gently as a Rembrandt. ...
— Every Soul Hath Its Song • Fannie Hurst
... spread a landscape of Lorraine; There Rembrandt made his darkness equal light, Or gloomy Caravaggio's gloomier stain Bronzed o'er some lean and stoic anchorite:— But, lo! a Teniers woos, and not in vain, Your eyes to revel in a livelier sight: His bell-mouthed goblet makes me feel quite Danish[676] Or Dutch with thirst—What, ...
— The Works of Lord Byron, Volume 6 • Lord Byron
... collection of photographs lately published from drawings in the Florence Gallery; the standard of pen drawing with a wash, fixed by Titian's sketch, No. 30 in the same collection; that of etching, fixed by Rembrandt's spotted shell; and that of point work with the pure line, by Duerer's crest with the cock; every effort of the pupil, whatever the instrument in his hand, would infallibly tend in a right direction, and the perception of the ...
— A Joy For Ever - (And Its Price in the Market) • John Ruskin
... of peasants and portraits, made three or four years later, possess almost a Rembrandt strength, unfortunately passion for the grotesque and the fanciful often lending a touch of caricature. Downright ugliness must have had an especial charm for the future illustrator of the Inferno, his unconscious ...
— In the Heart of the Vosges - And Other Sketches by a "Devious Traveller" • Matilda Betham-Edwards
... wonderful! There is a portrait by Rubens of his second wife that would have charmed T.; she is lovely, and the picture has that sunshiny beauty he will remember in "S. Anne teaching the B.V.M." I suspect she was the model for his most lovable faces. There is a large and wonderful Rembrandt—a splendid collection of Wouvermans—the most charming Ruisdael I ever saw. Some beautiful Vandykes—a Van de Velde of Scheveningen, Teniers, Weenix, Snyders, etc. I do so wish M. could see the pictures, she would enjoy them so, and get more out ...
— Juliana Horatia Ewing And Her Books • Horatia K. F. Eden
... rooms. People had, on the whole, been sensible, had given the right thing. The little drawing-room with its grey wall-paper, roses in blue jars, its two pictures—Velasquez' Maria Theresa in an old silver frame and Rembrandt's Night Watch—was pleasant, but overwhelmed now by the presence of these two enormous ladies. The evening sun, flooding it all with yellow light, was impertinent enough to blind the eyes of Mrs. Rossiter. She rose and moved slowly to draw down ...
— Fortitude • Hugh Walpole
... had been, as they remembered it, increased their respect and affection. That past formed for him a somber background, full of half-lights and shadows, against which he stood out with the revealing intensity of a Rembrandt portrait. ...
— Slippy McGee, Sometimes Known as the Butterfly Man • Marie Conway Oemler
... a deep, sweet and confiding expression; her dark eyebrows are penciled with unequaled purity on her forehead, white and reposeful as if in deep thought, and the bright, silky hair, somewhat tossed, throws a shadow on it, of which, not only Master Harvey, but a certain other painter, named Rembrandt, would not have been ashamed. The girl at once reminds you of Cinderella and Gretchen, and the leaning posture which she now maintains suggests timidity and ...
— Sielanka: An Idyll • Henryk Sienkiewicz
... from the early settlers among the Old Masters the situation becomes different. Rembrandt and Hals painted some portraits that appeal deeply to the imagination of nearly all of my set. The portraits which they painted not only looked like regular persons, but so far as my limited powers of observation go, they were among the few painters ...
— Cobb's Bill-of-Fare • Irvin Shrewsbury Cobb
... him was small and on its warmly tinted walls a few pictures, some of which his school training led him to recognize as Rembrandt reproductions, lent charm and interest to the interior. But these details were of minor importance compared to the thrill he experienced at discovering behind a great mahogany desk the mysterious ...
— Carl and the Cotton Gin • Sara Ware Bassett
... and earnestly, at the strong, fine lines of sadness brought beautifully out by this unexpected high-light of the skies, accentuated Rembrandt-like, against the darkness of the earth-colored ...
— The Way of the Wind • Zoe Anderson Norris
... it is evident that in Rembrandt's system, while the contrasts are not more right than with Veronese, the colours are all wrong from beginning ...
— The Gentle Art of Making Enemies • James McNeill Whistler
... him, Giusto Sperelli, had tried his hand at engraving. Certain plates of his, executed about 1520, showed distinct evidences of the influence of Antonio del Pollajuolo by the depth and acidity, so to speak, of the design. Andrea used the Rembrandt method a tratti liberi and the maniera nera so much affected by the English engravers of the school of Green, Dixon, and Earlom. He had formed himself on all models, had studied separately the effects ...
— The Child of Pleasure • Gabriele D'Annunzio
... pictures embodying this doctrine. The one most familiar is perhaps the greatest. It is the one that now graces the gem-room of the Louvre. I so name this room, for in it, within a few feet of one another, are pictures by Raphael, Da Vinci, Correggio, Rembrandt, Veronese, in short, by the foremost masters of the world. Among all these the vision of Murillo takes an equal rank. To many, the idea which the picture represents is of secondary importance, save perhaps as giving a reason for the name it bears. But all can see ...
— Great Artists, Vol 1. - Raphael, Rubens, Murillo, and Durer • Jennie Ellis Keysor
... when, in the course of my researches for a Jewish model, I became aware that there were blonde types, too, these seemed to me essentially Teutonic. A characteristic of the Oriental face, as I figured it, was a sombre majesty, as of the rabbis of Rembrandt, the very antithesis of the ruddy gods of Walhalla. The characteristic Jewish face must suggest more of the Arab than ...
— Ghetto Comedies • Israel Zangwill
... walk leading over it to an iron gate. I looked back with affectionate contempt to the art I had known in my youth, to the Rogers group, Lady Washington's ball, Lincoln and his cabinet, the lambrequin and the worsted motto. On my walls there would be a Colosseum, Rembrandt's portrait of himself, a smattering of Madonnas, a Winged Victory, and a Venus de Milo. To preside with me over such a house, to sit at the piano of an evening and play accompaniments while I sang sentimental songs, to fly with me over the country in a side-bar ...
— David Malcolm • Nelson Lloyd
... Philippe de Comines (Loud. et Paris, 1747), liv. iv. 194-196. In the Royal Gallery at Berlin is a startling picture by Rembrandt, in which the old Duke is represented looking out of the bars of his dungeon at his son, who is threatening him with uplifted hand and savage face. No subject could be imagined better adapted to the gloomy and sarcastic ...
— The Rise of the Dutch Republic, 1555-1566 • John Lothrop Motley
... him, and spoke intelligently of the music, the technique and the beauty of it, and what it stood for. She was surprised to hear he had got no further than Holland, and more surprised still that he had not even seen Rembrandt's masterpiece while he was there. Her voice was smooth and even, a little loud, perhaps, from her spending much time out of doors, not in the least given to those subtle changes of tone which express what is not said; but as she never wanted to express any ...
— The Good Comrade • Una L. Silberrad
... A Rembrandt print in the collection of the Smithsonian Institution has been made the subject of a study of the artist's etching technique. The author is associate curator, division of graphic arts, in the Smithsonian Institution's Museum of History ...
— Rembrandt's Etching Technique: An Example • Peter Morse
... can be said for the aspect of the new Castle, a building erected in the eighteenth century. It is a museum of art and contains many treasures by Rembrandt, Holbein, Velasquez, Vandyke and other great masters and, most interesting of all, a portrait of Lady Blanche Arundell, the defender of the Castle. She was a granddaughter of Margaret, Countess of Salisbury, and so came of an heroic and kingly line. Another famous relic is a wooden chalice made from ...
— Wanderings in Wessex - An Exploration of the Southern Realm from Itchen to Otter • Edric Holmes
... familiar with Rembrandt's work, through photographs and black and white reproductions, I invariably experience a shock from the colour standpoint whenever I come in touch with one of his pictures. I was especially struck with that masterpiece of his at the Hermitage, ...
— Rembrandt • Mortimer Menpes
... excited no small interest even among the artists. There are extant several portraits of Faustus painted by Rembrandt,— whether ideal, or copied from older pictures, is not known. Another Dutch painter, Christoph von Sichem, represented two scenes from the life of the celebrated magician; and of these productions engravings still exist. On the one, we see ...
— The Atlantic Monthly, Volume 2, Issue 12, October, 1858 • Various
... my stratagem in mailing my letter to the Governor. Discovering that I had left a page of my epistolary booklet blank, I drew upon it a copy of Rembrandt's Anatomy Lesson, and under it wrote: "This page was skipped by mistake. Had to fight fifty-three days to get writing paper and I hate to waste any space—hence the masterpiece—drawn in five minutes. Never drew a line till September 26 (last) and never took lessons in my life. I think you will ...
— A Mind That Found Itself - An Autobiography • Clifford Whittingham Beers
... him on the carpet. In the south aisle the corresponding window to the east has a tree of Jesse in its upper part, and beneath is one of the finest examples of sixteenth century painting in Rouen, work that reminds you of the work of Rembrandt. Of these five figures of old men, the last two on the right are especially worthy of attentive study. They were done in 1535. To the right of this window in the same chapel, looking southwards, is another fine window of about the same date, said to be copied from a design by ...
— The Story of Rouen • Sir Theodore Andrea Cook
... asked counsel of Schinner, this time adding Bridau to the invitation. The two painters saw in three of these pictures a servile imitation of Dutch landscapes and interiors by Metzu, in the fourth a copy of Rembrandt's "Lesson ...
— Pierre Grassou • Honore de Balzac
... thought of North Carolina," Rebecca Noble said to herself. "There is a strong hint of Rembrandt in this,—the bright yellow light, the uncouth ...
— Lodusky • Frances Hodgson Burnett
... don't know her," he said, rumpling his hair with an air of boredom. "An old society woman! What's the good of that to me? What have I to do with dowagers? Bow wow dowagers! Even Rembrandt—" ...
— December Love • Robert Hichens
... something innately picturesque about all furnaces and those who work about them. Whether it is the Rembrandt effects produced by the strong light and shade, or whether it is that the necessary use of the long iron instruments, such as all furnace workers employ, compels a certain dignity and grace of poise and action, we know not; but ...
— Scientific American Supplement, No. 841, February 13, 1892 • Various
... hates wisdom; he hates wit; he hates metaphysics, which he says are unintelligible, and yet he would be thought to understand them; he hates prose; he hates all poetry but his own; he hates the dialogues in Shakespeare; he hates music, dancing, and painting; he hates Rubens, he hates Rembrandt; he hates Raphael, he hates Titian; he hates Vandyke; he hates the antique; he hates the Apollo Belvidere; he hates the Venus of Medicis. This is the reason that so few people take an interest in his writings, because ...
— Lectures on the English Poets - Delivered at the Surrey Institution • William Hazlitt
... what struck me most about the face was its perfect symmetry. It was such a face, said Mr. Conway, as Rembrandt would have selected from a million. "It is the face of an aged loving child. As I looked, it was with the reflection that, during an acquaintance of thirty-six years, I never heard from those lips ...
— Whitman - A Study • John Burroughs
... the reasons for the inference. They, too, are the result of thinking. One may say that "cheating is wrong," or that "water will not rise above its source level," or that "cleanliness is necessary to health," or that "this is a Rembrandt"—as a matter of experience, habit, but without any reflection and with no reasons for such judgment. If, on the other hand, the problems to which these judgments are answers had been a matter of thinking, the reasons ...
— How to Teach • George Drayton Strayer and Naomi Norsworthy
... Rooms, 29 to 34, in the tier along the west wall, and five more one-man rooms along the east wall. These five, in their order from the main entrance are: No. 87, devoted to the old-masterlike works of Frank Duveneck, who, more perhaps than any other American, shows the great manner of Velasquez, Rembrandt and Franz Hals, and to whom the jury has recommended that a special medal be given for his influence on American art; No. 88 filled with the admirable Impressionist landscapes of E. W. Redfield; 89 and 93, given up to the widely contrasted ...
— The Jewel City • Ben Macomber
... and value of this department of painting, there will be, as there has been, difference of judgment and opinion, as there is variety in the powers of the eye and understanding. But take from Rubens, Rembrandt, Titian, and other distinguished masters, the estimation of their colouring, and we fear all that is left to them would hardly preserve their names from oblivion. Art cannot, indeed, attain its appropriate end, that of pleasing, without excellence ...
— Field's Chromatography - or Treatise on Colours and Pigments as Used by Artists • George Field
... not the mighty master's power In yon devoted Saint's uplifted eye? That clouds the brow and bids already lour O'er the First Charles the shades of sorrows nigh? That now on furrow'd front of Rembrandt gleams, Now breathes the rose of life and beauty there, In the soft eye of Henrietta dreams, And fills with ...
— The Mirror of Literature, Amusement, and Instruction, No. 366 - Vol. XIII, No. 366., Saturday, April 18, 1829 • Various
... indignation. "So you think Titian and Velasquez and Goyot and El Greco and Watteau and Van Dyck and Rembrandt and all the rest were sentimentalists, do you? The biggest men in the world worship them. You aren't just to the greatest intellects. I ...
— The Judgment House • Gilbert Parker
... of the paneling, which held back into the gloom the faded colors of the books that lined the walls, the mellowed glow of the rough stone of the chimney, and the faded hand-woven rugs on the floor made it all look like one of Rembrandt's or Franz Hals' canvases. But in a few seconds I came back from the joy of it to a consciousness of what Matthew Berry ...
— The Golden Bird • Maria Thompson Daviess
... subdued gleam. The silvery effulgence of the moon, the sombre and deserted look of the buildings around, and the general stillness that pervades every object, save the scene of action, might inspire the mind of a Rembrandt, or introduce to the mere casual beholder feelings at ...
— The Mirror of Literature, Amusement, and Instruction. - Volume XII, No. 347, Saturday, December 20, 1828. • Various
... ascribe to him fantastic theories about his predecessors, and it is with a certain sense of disillusion that I confess he thought about them pretty much as does everybody else. I do not believe he knew El Greco. He had a great but somewhat impatient admiration for Velasquez. Chardin delighted him, and Rembrandt moved him to ecstasy. He described the impression that Rembrandt made on him with a coarseness I cannot repeat. The only painter that interested him who was at all unexpected was Brueghel the Elder. I knew ...
— The Moon and Sixpence • W. Somerset Maugham
... forty to fifty,—but resolute grappling with each period brings one out almost inevitably into a fine serene certainty which cannot but have its effect on those who are younger. Ripe old age, cheerful, useful, and understanding, is one of the finest influences in the world. We hang Rembrandt's or Whistler's picture of his mother on our walls that we may feel its quieting hand, the sense of peace and achievement which the picture carries. We have no better illustration of the meaning of ...
— The Business of Being a Woman • Ida M. Tarbell
... glorious silent cloud of witnesses—the Virgin soaring amid her cherubic escort; grand Melancholia with her solemn universe; the Prophets and Sibyls; the School of Athens; the Last Supper; mystic groups where far-off ages made one moment; grave Holbein and Rembrandt heads; the Tragic Muse; last-century children at their musings or their play; Italian poets—all were there through the medium of a little black and white. The neat mother who had weathered her troubles, and come ...
— Daniel Deronda • George Eliot
... garden-seat, Chinese on one side and Gothic on the other? The chimneys, which are collected to a centre, spoil the dome of the house, and the hall is a dark well. The gallery is eighty-two feet long, hung with green velvet and pictures, among which is a fine Rembrandt and a pretty La Hire. The ceilings are painted, and there is a fine bed of silk and gold tapestry. The attic is good, and the wings extremely pretty, with porticoes formed on the style of the house. The Earl has built a new church, with a steeple which seems designed ...
— The Letters of Horace Walpole, Volume 2 • Horace Walpole
... sculptors of old Greece and Rome, masterpieces that had been torn from the ruins of antiquity by the hand of the untiring and enterprising excavator. Among the paintings were fine specimens of the skill of Albert Duerer, Murillo, Rubens, Van Dyck, Rembrandt, Sir Joshua Reynolds and other votaries of the brush whose names are immortal. These paintings did not hang on the walls, for they were covered with rich tapestry from the looms of Benares and the ...
— Edmond Dantes • Edmund Flagg
... she went abroad, painting was revealed to her, and she threw herself with the same ardor and enthusiasm into the study of the great masters; her last work (left unfinished) was a critical analysis of the genius and personality of Rembrandt. ...
— The Poems of Emma Lazarus - Vol. II. (of II.), Jewish Poems: Translations • Emma Lazarus
... controversies of Hillel and Shammai in old Jerusalem, how freshening these live discussions as to whether Holland should have sheltered Charles Stuart from the regicide Cromwell, or whether the doelen-stuk of Rembrandt van Rijn were as well painted as Van Ravosteyn's. In the Jewish quarter, though Rembrandt lived in it, interest had been limited to the guldens earned by dirty old men in sitting to him. What ardor, too, for the newest science, what worship of Descartes and deprecation of ...
— Dreamers of the Ghetto • I. Zangwill
... distinguished by this character in the highest degree; but their qualities are so well known in this country, as to render any observation on them superfluous. There is a very great collection here preserved of the works of Rembrandt, and their design and effect bear, in general, a higher character than belongs to most of the works ...
— Travels in France during the years 1814-1815 • Archibald Alison
... poking around among the piles of tables and vases that were moved over to one corner I came across a box of paintings that must have been STOLEN from St. Petersburg.[A] ... Here is the Madonna del Latte of Corregio, or a mighty good imitation, that everyone remembers, from the Hermitage. Here is Rembrandt's 'Girl with the Broom,' the Portrait of Sobieski, and the 'Farmyard' of Paul Potter. Here is the 'Expulsion of Hagar' by Rubens in which Sarah wears a white handkerchief and yellow veil around her head, with one of her hands resting on her hip and ...
— Rescuing the Czar - Two authentic Diaries arranged and translated • James P. Smythe
... old friend!' said Girodet, as, after a warm embrace from him, he turned to examine the picture: 'I never expected to hear of your changing your style, and turning Flemish sign-painter. But it is no shame for David to end as Rembrandt began.' ...
— Chambers's Edinburgh Journal, No. 439 - Volume 17, New Series, May 29, 1852 • Various
... fire. You must consider these doors as open as the woods so long as your are in this neighbourhood. I have some things I should like to show you that you might not find wholly uninteresting—a Raphael, a Rembrandt (so reputed), and several Venetians—not much, in faith, but regarding which I ...
— Doom Castle • Neil Munro
... in a Dutch manner a landscape of Hobbema in the Louvre, but M. Gaucherel translates a Ruysdael from the Demidoff collection into an exquisite delicacy and airiness of line which is the language of etching in its most modern expression. A Demidoff Rembrandt, a Lucrezia, reproduced by the needle of M. Koepping, is an example of the naivete of an art which gave itself no thought for archaeology. Lucrezia is a simple Dutch maiden in the full-sleeved, straight-bodied Flemish costume. Her innocent, childish face tells ...
— Lippincott's Magazine of Popular Literature and Science, Vol. 26, October, 1880 • Various |
