Review of reviews and world's work . .t). (A superb Uembrandt owned br Mr. Jamos piece of coloring, ricti in walnutbrowns and mahogany reds ; the eyes are painted asonly Rembrandt could paint eyes.) outdone himself in this portrait. In it thereare almost all the qualities that go to make agreat picture; that is to say, the figure islifelike and full of character; it seems to bestanding within space, surrounded by lightand air and not flat against a wall, while thewhole canvas makes a decorative color unitthat charms us, aside from its qualities as agraphic and vivid portra
Review of reviews and world's work . .t). (A superb Uembrandt owned br Mr. Jamos piece of coloring, ricti in walnutbrowns and mahogany reds ; the eyes are painted asonly Rembrandt could paint eyes.) outdone himself in this portrait. In it thereare almost all the qualities that go to make agreat picture; that is to say, the figure islifelike and full of character; it seems to bestanding within space, surrounded by lightand air and not flat against a wall, while thewhole canvas makes a decorative color unitthat charms us, aside from its qualities as agraphic and vivid portrait. Another picture that has exactly the samequalities is Rembrandts portrait of his sonTitus (from the Kann collection re-cently purchased by Mr. Altman and addedto the collection after the exhibition wasopened). The Ross Portrait of a Manwas painted by Rembrandt when he wasabout forty-nine years of age. Compare itvi«^h earlier canvases shown, like the Nicholaes Ruts, and the portraits of Rem- 582 THE AMERICAN REI/IEIV OF a young painter (JAN van DE CAPELLE?j, BYREMBRANDT. (Owned by Mr. .1. V. Morgan. An example of theartist, typical in chiaroscuro and sentiment.) brandt owned by Mr. E. D. Libbey, Toledo,and Mr, F. G. Logan, Chicago, all paintedwhen the artist was twenty-five, and the Noble Slav, painted when he was twenty-six, and we see a decided difference. True,the earlier works are decidedly Rembrandt-ish; the Noble Slav especially has thatwell-known superabundance of volume, thateffect of air surrounding the figure that weassociate with. Rembrandt; and the eye fol-lows its surfaces plainly as though it weresome heroic-sized statue. But with all thesequalities there is not that looseness of touch,that evasive suggestiveness, that freedom thatallows the accentuating of some portion ofthe form here, the obliterating or puttingdown of some detail there, simply because theartist felt that such accentuating or repres-sion would enhance the general effect of thecanva
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Keywords: ., bookcentury1800, bookdecade1890, bookidreviewofrevi, bookyear1890
