Please note that our Terms of Use and Privacy Notice are applicable.
On Promotion in Sports & Leisure
Some search tips we've found useful:
- Check the spelling of your search terms
- Use fewer or more general search terms
- Try browsing a category related to your search terms
Ads in other locations
8
R 230
SavedSave
Rembrandt Drawings
Text by Paul Némo
Translated by David Macrae
Rembrandt's drawings can be grouped under three headings, as in this book: family scenes, landscapes and episodes from the Bible.
His preferred models were old men, and, in particular, the poor whose rags were so repugnant to the high society types who came to hi studio to order their portraits. Generally speaking-- and with the exception of his early period of worldly success and vanity-- he was always attracted by ordinary people, as he felt that their character was more starkly and plainly visible than that of anyone else. His drawings concern themselves with human types and expressions rather than with the facile depiction of the picturesque.
It has been observed that he attached no importance at all to a person's rank. A critic writing in 1681 observed: "Instead of taking as his model the Greek Venus, off he went and found a laundry-wench or a peat- digger. The breasts would be flabby, the hands deformed; there might even be the marks of undergarments on her hips and the of a garter on her leg-- but held copy everything."
Rembrandt loved to go walking in the afternoon through the surrounding countryside, often returning home just before dusk. His pupil Hoog- stracten wrote that he once said: "The towns, villages, churches and the thousand riches of creation call out to us, saying: Come, thinker, contemplate us and follow us." There is no doubt that Rembrandt did derive some consolation from nature, the midst of such unrelenting tragedy. Even though he left only fifteen oil paintings of landscapes, he drew large numbers of them, both real and fantastic.
Rembrandt was a profoundly religious man who simply did not feel drawn to the interplay of ideas for their own sake. He was not particularly fond of literature and was in no sense an "intellectual". The truth was what he sought, with his heart and instinct as much as with his reason -- if not more so. And the silence of a church or a temple moved him much more deeply than even the most perfect syllogism. His picture of the Good Samaritan reflects the spirit and mood of the Gospel, a passage of which he used to read every day, except when he chose to read from the Old Testament. Indeed, his works could be used to illustrate almost all of Holy Writ.
However, beyond such sources of inspiration, which were always profoundly human, even the most casual of his sketches bears the unmistakable mark of a great master: their sureness of line and beautiful interplay of light and shade give these drawings a quality which transcends time and place.
Condition - Excellent
Hardcover
Published in 1972 by Crown Publishers
Length - 125 pages
Collection in Norwood or can be couriered at buyers expense
1y
Successfully Added to List
View and manage your saved ads in your account.