DOI Page / Citation link:
https://doi.org/10.11588/diglit.62913#0044
xxxvi
THE LIFE OF
shadows, clear and delicate in the half tones and
reflexes, and rich and unctuous throughout; ever boun-
tiful with his colour, he spared not to load the high
lights with solid masses, which, in some instances, is
made to project like the real objects on the canvas, and
when viewed from a proper distance produce an asto-
nishing effect. It was in reference to such pictures
that the artist observed to a person who approached
too near, “ that his works were not intended to be
“ smelt, but looked at.”
Whether from early associations, indifferent educa-
tion, or neglected studies from fine models, or all
combined, Rembrandt seems never to have been
awakened to a just appreciation of the beautiful forms
of the human figure, and was almost as indifferent to
the attractive qualities of grace and elegance, satisfied
with having seized a general expression of nature,
although from the coarsest forms in low life, he neither
sought or cared for any thing beyond them. A cor-
responding taste governed him in the choice of his
society; for with all the endeavours of his friend the
Burgomaster Six, and others, to instil into him a pre-
ference for superior society, he would either avoid, or
on the first occasion, steal from it, and mingle with the
lowest class ; and when asked his reasons for such a
preference, would reply, “ If I wish to relax from study,
“ it is not honour but liberty and ease that I seek.”
Ignorant or indifferent to those graces and blandish-
ments in art which give such charms to Correggio and
others, he pursued and acquired excellence of another
kind, which, as has already been observed, places him
THE LIFE OF
shadows, clear and delicate in the half tones and
reflexes, and rich and unctuous throughout; ever boun-
tiful with his colour, he spared not to load the high
lights with solid masses, which, in some instances, is
made to project like the real objects on the canvas, and
when viewed from a proper distance produce an asto-
nishing effect. It was in reference to such pictures
that the artist observed to a person who approached
too near, “ that his works were not intended to be
“ smelt, but looked at.”
Whether from early associations, indifferent educa-
tion, or neglected studies from fine models, or all
combined, Rembrandt seems never to have been
awakened to a just appreciation of the beautiful forms
of the human figure, and was almost as indifferent to
the attractive qualities of grace and elegance, satisfied
with having seized a general expression of nature,
although from the coarsest forms in low life, he neither
sought or cared for any thing beyond them. A cor-
responding taste governed him in the choice of his
society; for with all the endeavours of his friend the
Burgomaster Six, and others, to instil into him a pre-
ference for superior society, he would either avoid, or
on the first occasion, steal from it, and mingle with the
lowest class ; and when asked his reasons for such a
preference, would reply, “ If I wish to relax from study,
“ it is not honour but liberty and ease that I seek.”
Ignorant or indifferent to those graces and blandish-
ments in art which give such charms to Correggio and
others, he pursued and acquired excellence of another
kind, which, as has already been observed, places him