. Rembrandt : his life, his work, and his time. artists. There is a fourth which appears among theworks of each. This is the charming Man in a Mezetin Cap (B. 289)which Rembrandt probably etched in 1635. In Lievens version(B. 26) the face is beardless, but the composition is reversed ; and theattitude, the costume, the headdress, and the upper part of the faceare identical, while as regards the execution there is little to choose inpoint of skill. Here again Rembrandt has merely initialed the copy,in which he has sacrificed strict fidelity to picturesqueness of detail,adding the beard, and som
. Rembrandt : his life, his work, and his time. artists. There is a fourth which appears among theworks of each. This is the charming Man in a Mezetin Cap (B. 289)which Rembrandt probably etched in 1635. In Lievens version(B. 26) the face is beardless, but the composition is reversed ; and theattitude, the costume, the headdress, and the upper part of the faceare identical, while as regards the execution there is little to choose inpoint of skill. Here again Rembrandt has merely initialed the copy,in which he has sacrificed strict fidelity to picturesqueness of detail,adding the beard, and some stray locks of hair, indicated by a fewskilful touches. The two friends never lost sight of one another. They were nodoubt pleased to renew their former intimacy, when Lievens renouncedhis wandering life, and settled at Amsterdam shortly after , we know, had a sincere admiration for his compatriotstalent, as the inventory of 1656 sufficiently proves. It records hispossession of a book of prints by Lievens, and no less than nine. ^Ihralianfs Sacrifice {i(^3S)- (hermitage museum.) ABRAHAMS SACRIFICE 159 pictures, among them a Resicrrecliou of Lazarus ^ and an Abrahaui sSacrijicc. The latter, which was eulogised by Philip Angel in hisPraise of Painting so early as 1632, represents the patriarch claspingIsaac tenderly in his arms, and looking gratefully upwards to the Lordwho has preserved his son. Abraham s Sacrifice was one of the Biblical episodes most affectedby the Italianiscrs. But the moment they usually chose was not thattreated by Lievens. Their theme was more often the Angel stayingthe hand of the patriarch. This was the point in the drama which alsoappealed to Rembrandt, not only as the most impressive, but aslending itself most readily to those effects of chiaroscuro which hadsuch fascination for him. The life-size picture in the Hermitage,inspired by this episode and painted in 1635, is among his mostimportant works. The composition is extremely strikin
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Keywords: ., bookcentury1900, bookdecade1900, bookpublishernewyo, bookyear1903
