Rembrandt, his life, his work and his time . ition is, however, execution of this Bust poi-trait of Rembrandt (B. 338) issomewhat coarse and hasty ; cer-tain portions of the dress and thebackground appear to have beenengraved with two points held to-gether. Rembrandt himself seemsto have attached little importanceto the plate, which he coveredwith retouches and scratches. Among the etched portraits of himself belonging to the next4wo years, and signed with the usual monogram, six are dated 1630B. Nos. 10, 13, 24, 27, 316 and 320), and five 1631 (B. Nos. 7, 14, 15,16 and 25). Nine
Rembrandt, his life, his work and his time . ition is, however, execution of this Bust poi-trait of Rembrandt (B. 338) issomewhat coarse and hasty ; cer-tain portions of the dress and thebackground appear to have beenengraved with two points held to-gether. Rembrandt himself seemsto have attached little importanceto the plate, which he coveredwith retouches and scratches. Among the etched portraits of himself belonging to the next4wo years, and signed with the usual monogram, six are dated 1630B. Nos. 10, 13, 24, 27, 316 and 320), and five 1631 (B. Nos. 7, 14, 15,16 and 25). Nine others were in all probability executed at thisperiod, bringing up the total to twenty for the two years. The platesare very unequal in value and importance ; some, notably the earlieroiks, are mere sketches, hastily drawn on the copper; the executionuncertain, or over-laborious. Others show a firmer touch and indicatemarked progress. A twofold problem seems to have occupiedthe author. In some the study of chiaroscuro is the primaryvol. 1 F. REMBRANDT WITH HIS MOUTH OrEN. 1630 (B. 13). 34 REMBRANDT object ; he seeks to render those apparent modifications which lightmore or less vivid, more or less oblique, produces in form, and in theintensity of shadows. The result is a whole series of such essays :the execution in most of these is very summary ; but by an ingeniousshifting of artificial light, and a careful study of the variations due tosuch successive displacements, he gains a complete insight into thelaws of chiaroscuro. In many of the remaining plates design is themain consideration, and light plays but a secondary part. Themanagement of the point is firmer and more assured ; the mastersgrasp on Nature has become closer, and he strives to render her mostcharacteristic He seeks variety in attitudes, expressions andcostumes. He drapes himself, and poses, hand on hip, before hismirror ; now uncovered and dishevelled, now with a hat. a cap, a furtoque on his head. Eve
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Keywords: ., bookcentury1800, bookdecade1890, bookpublisherlondo, bookyear1894
