DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.68073#0242
2l6
OLD WORLD MASTERS
and sombre, a great and connected whole. Throughout, the handling
of the paint is full and direct without any small or useless accents, a
great design treated like sculpture. The stronger colors of brown
and red are dissolved in a sombre tone of bronze and with that
singular mixture of smothered lights and cave-like half-tones and
shadows which give the true expression of the quiet and pathetic
event.
“Out of the whole tonality emerges first the powerful head of the
old Seer, then the suppressed light of the strange Infant, and finally
the beautiful sibyl-like Mary. The picture is full of that inner power
of expression which Millet would have admired and Israels would
have revelled in.
“In Holland we can point to more complete, perhaps more pompous
and more brilliant, Rembrandts, but a picture by the master of such
wonderful simplicity and at once of such great eloquence we hardly
know of in this country.”
Turning to the Dutch records we learn the following:
“The desire to obtain the minutest detail of information about
Rembrandt’s life and works, and perhaps with a wish to discover some
allusion to his pictures, has led such men as Dr. Bredius to search
among the old Dutch archives for records of ancient deeds in the
registries of Amsterdam and near-by towns and villages. This has
been no light task, for besides the numberless documents to be ex-
amined, the difficulties of deciphering the curious legal language
used in the Seventeenth Century had to be combatted. Dr. Bredius’s
efforts, however, were rewarded, when, about ten years ago he dis-
covered an ancient deed relating directly to a painting by Rem-
brandt, and dated May 12, 1671 (two years after his death), signed
before a notary named J. De Winter of Amsterdam. The document
so unearthed threw light upon a picture entitled Simeon, of which no
record had up to the time of Dr. Bredius’s discovery, been known.
Dr. Bredius deemed the subject so interesting that lie wrote an article
dealing with The Last Year of Rembrandt's Life, which appeared in
Ozid-Holland in 1909.”
Now we go to the number of Oud-IIolland and take this extract.
OLD WORLD MASTERS
and sombre, a great and connected whole. Throughout, the handling
of the paint is full and direct without any small or useless accents, a
great design treated like sculpture. The stronger colors of brown
and red are dissolved in a sombre tone of bronze and with that
singular mixture of smothered lights and cave-like half-tones and
shadows which give the true expression of the quiet and pathetic
event.
“Out of the whole tonality emerges first the powerful head of the
old Seer, then the suppressed light of the strange Infant, and finally
the beautiful sibyl-like Mary. The picture is full of that inner power
of expression which Millet would have admired and Israels would
have revelled in.
“In Holland we can point to more complete, perhaps more pompous
and more brilliant, Rembrandts, but a picture by the master of such
wonderful simplicity and at once of such great eloquence we hardly
know of in this country.”
Turning to the Dutch records we learn the following:
“The desire to obtain the minutest detail of information about
Rembrandt’s life and works, and perhaps with a wish to discover some
allusion to his pictures, has led such men as Dr. Bredius to search
among the old Dutch archives for records of ancient deeds in the
registries of Amsterdam and near-by towns and villages. This has
been no light task, for besides the numberless documents to be ex-
amined, the difficulties of deciphering the curious legal language
used in the Seventeenth Century had to be combatted. Dr. Bredius’s
efforts, however, were rewarded, when, about ten years ago he dis-
covered an ancient deed relating directly to a painting by Rem-
brandt, and dated May 12, 1671 (two years after his death), signed
before a notary named J. De Winter of Amsterdam. The document
so unearthed threw light upon a picture entitled Simeon, of which no
record had up to the time of Dr. Bredius’s discovery, been known.
Dr. Bredius deemed the subject so interesting that lie wrote an article
dealing with The Last Year of Rembrandt's Life, which appeared in
Ozid-Holland in 1909.”
Now we go to the number of Oud-IIolland and take this extract.