. Rembrandt : his life, his work, and his time. HET BvRCER-WeesHLIS IS DE KaLVERSTBAAT,LATER OE KEIZERSKROON, OMSTREEKS I560 CEBOlWO.(Fnc-itmjti ctntr tttliftiii^ vsii 17:5^- THE imperial CROWN AT AMSTERDAM. Facsimile of a drawing of 1725. REMBRANDTS STUDIES FROM HIMSELF 337 Rodolphe Kamis fine picture. He is painted almost full face,simply dressed in a brown cloak, and a red cap, from beneath whichhis hair falls in curlinq- locks about his neck. There is a slisfhtdown on his upper lip, but his face shows the same traces of ill-health, and is marked by the same sweetness of expression. Inthe i
. Rembrandt : his life, his work, and his time. HET BvRCER-WeesHLIS IS DE KaLVERSTBAAT,LATER OE KEIZERSKROON, OMSTREEKS I560 CEBOlWO.(Fnc-itmjti ctntr tttliftiii^ vsii 17:5^- THE imperial CROWN AT AMSTERDAM. Facsimile of a drawing of 1725. REMBRANDTS STUDIES FROM HIMSELF 337 Rodolphe Kamis fine picture. He is painted almost full face,simply dressed in a brown cloak, and a red cap, from beneath whichhis hair falls in curlinq- locks about his neck. There is a slisfhtdown on his upper lip, but his face shows the same traces of ill-health, and is marked by the same sweetness of expression. Inthe isolation of his life at this period, Rembrandt naturally madefrequent studies from himself. We recognise his features in severalportraits, some dated, some ascribed to this period on internalevidences. One of these is in the Bridgwater Gallery, another inthe Cassel Museum. The latter bears a date, which Dr. Eisen-mann deciphers 1654. The execution, however, and the apparentage of the sitter, seem to us sufficient evidence that it was painted I. LANDSCAPE STUDY. Pen drawing (British Museum). at a later period. A third of these studies belongs to LordIlchester, and is dated 1658. It appeared at the Winter Exhibi-tion of 1889, where it attracted universal admiration, being, in fact,as Dr. Bredius observed,^ the gem of the collection. It is a three-quarters length of the master. He wears a fanciful costume, andholds a stick in his hand. The painting is wonderfully luminousin effect, and in perfect condition. The tlesh tints are clearand brilliant, the hands broadly and firmly modelled. Themelancholy eyes meet those of the spectator with an exj)res-sion of deep dejection. Another portrait of the master, exhibitedat the Royal Academy by Lord Ashburton in 1890, is closelyallied to the last in treatment and expression, and was probably ^ Old Masters in the Royal Academy^ 1889; extract from x\\q Nederlandsche Spectator,1889, No. 17. 338 REMBRANDT painted in the same year. The hair is gr
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Keywords: ., bookcentury1900, bookdecade1900, bookpublishernewyo, bookyear1903
