(Illustrated) This book contains illustrations from the work of Rembrandt himself, which are used to illuminate his genius and the principles and practice of design, light, shade, and color in his works.
In commencing an account of the life of Rembrandt and his works, I feel both a pleasure and a certain degree of confidence, as, from my first using a pencil, his pictures have been my delight and gratification, which have continued to increase through a long life of investigation. Though I cannot expect to enhance the high estimation in which Rembrandt is held by all persons competent to appreciate his extraordinary powers, nevertheless, the publication of the results of my study may tend to spread a knowledge of his principles and practice, which may be advantageous to similar branches in other schools; for, notwithstanding that his style is in the greatest degree original and peculiar to himself, yet it is founded upon those effects existing in nature which are to be discovered, more or less, in the works of all the great masters of colouring and chiaro-scuro. Of his early life little is known; for, unless cradled in the higher circles of society, the early lives of eminent men frequently remain shrouded in obscurity. The development of their genius alone draws attention to their history, which is generally progressive; hence a retrospective view is ambiguous. Little is known either of Rembrandt's birth or the place of his death; what is known has already been related, from Houbraken to Bryan, and from Bryan to Nieuwenhuys, and anecdotes have accumulated, for something new must be said. It is, however, fortunate that in searching into the source from which this extraordinary artist drew his knowledge, we have only to look into the great book of Nature, which existed at the time of Apelles and Raffaelle; and, notwithstanding the diversity of styles adopted by all succeeding painters, beauties and peculiarities are still left sufficient to establish the highest reputation for any one who has the genius to perceive them, and the industry to make them apparent. This was the cause of Rembrandt's captivating excellence; neither a combination of Coreggio and Titian, nor of Murillo and Velasquez, but as if all the great principles of chiaro-scuro and colour were steeped and harmonized in the softening shades of twilight; and this we perceive in nature, producing the most soothing and bewitching results. These digressions may, however, come more properly into notice when Rembrandt's principles of colour come under review.
In commencing an account of the life of Rembrandt and his works, I feel both a pleasure and a certain degree of confidence, as, from my first using a pencil, his pictures have been my delight and gratification, which have continued to increase through a long life of investigation. Though I cannot expect to enhance the high estimation in which Rembrandt is held by all persons competent to appreciate his extraordinary powers, nevertheless, the publication of the results of my study may tend to spread a knowledge of his principles and practice, which may be advantageous to similar branches in other schools; for, notwithstanding that his style is in the greatest degree original and peculiar to himself, yet it is founded upon those effects existing in nature which are to be discovered, more or less, in the works of all the great masters of colouring and chiaro-scuro. Of his early life little is known; for, unless cradled in the higher circles of society, the early lives of eminent men frequently remain shrouded in obscurity. The development of their genius alone draws attention to their history, which is generally progressive; hence a retrospective view is ambiguous. Little is known either of Rembrandt's birth or the place of his death; what is known has already been related, from Houbraken to Bryan, and from Bryan to Nieuwenhuys, and anecdotes have accumulated, for something new must be said. It is, however, fortunate that in searching into the source from which this extraordinary artist drew his knowledge, we have only to look into the great book of Nature, which existed at the time of Apelles and Raffaelle; and, notwithstanding the diversity of styles adopted by all succeeding painters, beauties and peculiarities are still left sufficient to establish the highest reputation for any one who has the genius to perceive them, and the industry to make them apparent. This was the cause of Rembrandt's captivating excellence; neither a combination of Coreggio and Titian, nor of Murillo and Velasquez, but as if all the great principles of chiaro-scuro and colour were steeped and harmonized in the softening shades of twilight; and this we perceive in nature, producing the most soothing and bewitching results. These digressions may, however, come more properly into notice when Rembrandt's principles of colour come under review.
