THE AGE OF REMBRANDT.

Otago Witness, Issue 2396, 1 February 1900, Page 59

THE AGE OF REMBRANDT.

The time during which Rembrandt lived is worthy of the closest attention in any estimate of his worth and his attainments. Born just after the Gunpowder Plotters had been punished, when he was 10 Shakesspeare had died and Milton had been living for eight years. His first picture was painted when the fatal expedition sailed to relieve Rochelle. and his first pupil came to him when Fel^ton had assassinated Buckingham. The year*- that saw "The Anatomy Lesson" saw also "L'Allagro" and, "II Penseroso."' The numerous portraits 'that • exist of v him are valuable, not merely as magnificent studies of .portrait-painting, 'but as records of his life, and the vigorous, face of the young painter, just when he had .left the studio of Jacob van Swanenburch, remains to prove the sincerity and strength which urged him to refuse to follow his Mend Jan Lievensz, fresh from Lastman's training, and to determine to devote himself to hard and patient work alone. When he went to Amsterdam from Leyden, soon sifter his father's death in 1630, his reputation as a portrait* painter had alleady gone before. In two years there came " The Anatomy . Lesson " and the" " Study of an Old Man," which assured his fame. Fortune and Love were not long in following it. A SUCCESSFUL ARTIST. While all the fashionable world werfc flocking to his studio, the first delightful portrait of the sweet and gentle Saskia made its appearance. A year after they were married, while Englishmen were reacting the first edition of " Cosmus,' 1 she appears again upon hi& canvas in a feathered hat and furs; and 'the happiness that blessed their union has a jocund evidence in the picture of "1635, in which she sits upon his knee, while he drinks to the .health of each. The famous "Sobieski*' was but two years later, and the extraordinary painting of " Elizabeth Bas " is convincing proof of the marvellous skill which these years of prosperity and well-merited success encouraged. It is strange to think that all this time events were happening on the other side of the Atlantic which resulted in the founding of Massachusetts colony and Manhattan, where nearly three cen^ turies afterwards a market was to be assured for Rembrandt's work at prices which would have fairly staggered the richest burghers iv the Amsterdam of "Rembrandt's earliest fame. In France the power of Richelieu was gradually falling into the

hands of Mazarin. In his own native land "the Peace of Westphalia had not yet brought abiding rest. Wars with England were not to cease until the very year before llhe artist's death. The outlook of European life and politics was a stormy one, "and the shadow of these larger 'happenings soon fell across his own more .sensitive existence. YEARS OF DECAY. *> 'As early as the year 1647 appeared the beginning of those money troubles which finally overwhelmed the artist, Avho cared Jitfrle how florins came or went. Little Baskia was dead, and Hendrickje Stoffels juame on the scene, with what exact legitimacy of connection matters little, for she is justified by the portrait in the Louvre. In 1656 Rembrandt was bankrupt. Family troubles came on him as well. His house was sold ,<up, and he was obliged to move to the .Crown Imperial Inn in the Kalverstraat. (The price "of pictures had probably gone 'down during the constant wars, but there is little reasonable explanation to be had, ' and none Avill now be asked. The de..voted Hendrickje did so much at this crisis ,*hat they had a roof of their own. again in the Eozengracht, in 1661, where he gave triumphant proof that misfortune had not jret harmed his art by the splendid " Synidics of the 4 Drapers' Guild." But after jthis date tliat rich vein of expression - to jfwhich he had given full plaj 7 " in his etchings seems to have been worked out. He ibegan that form of art probably in 1628, 'and by 1630 (when there are no less than 15 authentic dated examples) it had taken 'firm hold upon his heart. It is true 'that ■'his occasional lamentable lack of the sense of beauty is as much exemplified in the *' Death of the Virgin " (1638) as his simple find direct conception and execution, but by 1648 he had produced a masterpiece of /workmanship and "composition in the "Beggars at the Door of a House." In the year 1661 there are no more certain proofs that he ever etched again. He struggled iioblj against misfortune and neglect durdng the last 10 years of his life, but in 1669, when he died in the Rozengracht, not a citizen in Amsterdam seems to have taken notice of his passing. — St. James's Gazette.