Rembrandt, his life, his work and his time . , we areinclined to consider theportrait of a young womanin the Cassel Gallery ( [ 6 in the Catalogue) as astudy made at about thesame time from somefriend or relation ofSaskias, basing such asupposition on the ab-sence of any signature,and on the fanciful dress,one of the masters pro-perties, which he has himself arranged on the sitter. The garbis both picturesque and original. A fur mantle is worn over agreenish dress, with a white chemisette cut low at the neck. Ascarf with a deep fringe is drawn round the shoulders. The hair,neck, and ears a
Rembrandt, his life, his work and his time . , we areinclined to consider theportrait of a young womanin the Cassel Gallery ( [ 6 in the Catalogue) as astudy made at about thesame time from somefriend or relation ofSaskias, basing such asupposition on the ab-sence of any signature,and on the fanciful dress,one of the masters pro-perties, which he has himself arranged on the sitter. The garbis both picturesque and original. A fur mantle is worn over agreenish dress, with a white chemisette cut low at the neck. Ascarf with a deep fringe is drawn round the shoulders. The hair,neck, and ears are adorned with pearls, and the gloved left handholds two pinks. The pale complexion and red lips, the longnose, thickening slightly towards the tip, the small eyes, and thereddish hair that waves about the face, make up a type of noparticular beauty. But the wistful expression, and a certain air ofastonishment give that effect of strange actuality in which Rembrandtexcelled. The male portraits of this period represent for the most part the. PEN SKETCH. (Stockholm Print Room). 2i4 REMBRANDT painters family friends. The Minister Swalmius of the Dudley-collection, painted by the master in 1637, is a grave personage ofsevere aspect (probably some acquaintance of the Sylviuses), whopauses in his reading, and looks up at the spectator. The BridgwaterHouse portrait, painted in 1637, represents another minister, ahandsome, delicately-featured old man in a furred green robe, seated ata table. We cannot agree with Dr. Bode in his identification ofRembrandt himself with the life-size full-length of a man, dated 1639,in the Cassel Museum (No. 217 in the Catalogue) which long passedfor a portrait of Jan Six. The type has certainly nothing in commonwith that of the famous burgomaster, who was soon to becomeRembrandts friend. But neither can we discover any likeness to theartist, either in the shape of the face, the hair, or the expression. Thesitter, who leans against a wall beside an engag
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Keywords: ., bookcentury1800, bookdecade1890, bookpublisherlondo, bookyear1894
