Rembrandt van Rijn

Stanislaw Barszczak, Visit of a Young Lady (part first)

Characters of the story:

Neeltge Willemsdochter van Zuitbroeck, Rembrandt’s mother;
15-year-old Cornelia, painter’s daughter;
21-year-old Saskia van Uylenburgh, wife of Rembrandt, daughter of the mayor;
23-year-old Hendrickje Stoffels;
Magdalena van Loo, wife of Titus;
Harmen Gerritszoon van Rijn, miller, father of Rembrandt;
Rembrandt Harmenszoon van Rijn;
Constantijn Huygens, diplomat, traveler and poet;
18-year-old Jan Lievens, friend of Rembrandt;
25-year-old Cosimo III de’ Medici, Grand Duke of Tuscany;
42-year-old Hendrick van Uylenburgh, an art buyer;
57-year old Nicolas Ruts, a fur merchant in Amsterdam;
Cornelis Anslo, Dutch preacher;
Governess, childless widow Geertje Dircx;
Gerrit Dou, student;

Introduction

One of the greatest European artists, Rembrandt Harmenszoon van Rijn, is a Dutch draughtsman, painter, and printmaker. An innovative and prolific master in three media, he is generally considered one of the greatest visual artists in the history of art and the most important in Dutch art history. Unlike most Dutch masters of the 17th century, Rembrandt’s works depict a wide range of style and subject matter, from portraits and self-portraits to landscapes, genre scenes, allegorical and historical scenes, biblical and mythological themes as well as animal studies. His contributions to art came in a period of great wealth and cultural achievement that historians call the Dutch Golden Age, when Dutch art (especially Dutch painting), was extremely prolific and innovative, and gave rise to important new genres. Rembrandt van Rijn never went abroad, but he was considerably influenced by the work of the Italian masters and Netherlandish artists who had studied in Italy. Having achieved youthful success as a portrait painter, Rembrandt’s later years were marked by personal tragedy and financial hardships. Yet his etchings and paintings were popular throughout his lifetime, his reputation as an artist remained high, and for twenty years he taught many important Dutch painters. Rembrandt’s portraits of his contemporaries, self-portraits and illustrations of scenes from the Bible are regarded as his greatest creative triumphs. His self-portraits form a unique and intimate biography, in which the artist surveyed himself without vanity and with the utmost sincerity. Rembrandt’s foremost contribution in the history of printmaking was his transformation of the etching process from a relatively new reproductive technique into a true art form. His reputation as the greatest etcher in the history of the medium was established in his lifetime and never questioned since. Few of his paintings left the Dutch Republic whilst he lived, but his prints were circulated throughout Europe, and his wider reputation was initially based on them alone.

One third of his etchings are of religious subjects, many treated with a homely simplicity, whilst others are his most monumental prints… His prints have similar subjects to his paintings, although the twenty-seven self-portraits are relatively more common, and portraits of other people less so. There are forty-six landscapes, mostly small, which largely set the course for the graphic treatment of landscape until the end of the 19th century.

In 1634, Rembrandt married Saskia van Uylenburgh. Rembrandt’s wife Saskia came from a good family: her father had been a lawyer and the burgemeester (mayor). Rembrandt and Saskia were married in the local church of St. Annaparochie without the presence of Rembrandt’s relatives. In the same year, Rembrandt became a burgess of Amsterdam and a member of the local guild of painters. He also acquired a number of students. So, Rembrandt’s appearance and his work is a wonderful story about human life. I invite my dear Readers to know better the story of my hero as the story of a single life.

I

Rembrandt Harmenszoon van Rijn was born on 15 July 1606 in Leiden, in the Dutch Republic, now the Netherlands. He was the ninth child born to Harmen Gerritszoon van Rijn and Neeltgen Willemsdochter van Zuijtbrouck. His father was a miller and his mother was a baker’s daughter. Religion is a central theme in Rembrandt’s paintings and the religiously fraught period in which he lived makes his faith a matter of interest. His mother was Roman Catholic, and his father belonged to the Dutch Reformed Church. While his work reveals deep Christian faith, there is no evidence that Rembrandt formally belonged to any church, although he had five of his children christened in Dutch Reformed churches in Amsterdam: four in the Oude Kerk (Old Church) and one, Titus, in the Zuiderkerk (Southern Church).

As a boy he attended Latin school and was enrolled at the University of Leiden, although according to a contemporary he had a greater inclination towards painting; he was soon apprenticed to a Leiden history painter, Jacob van Swanenburgh, with whom he spent three years. After a brief but important apprenticeship of six months with the painter Pieter Lastman in Amsterdam, Rembrandt stayed a few months with Jacob Pynas and then started his own workshop. Unlike many of his contemporaries who traveled to Italy as part of their artistic training, Rembrandt never left the Dutch Republic during his lifetime. He opened a studio in Leiden in 1625, which he shared with friend and colleague Jan Lievens.

In 1627 Rembrandt began to accept students. In 1629, Rembrandt was discovered by the statesman Constantijn Huygens (father of the Dutch mathematician and physicist Christiaan Huygens), who procured for Rembrandt important commissions from the court of The Hague. As a result of this connection, Prince Frederik Hendrik continued to purchase paintings from Rembrandt until 1646. Early in his career Rembrandt got acquainted with Hendrick van Uylenburgh,a marchand of paintings, who lived in the Commonwealth of Poland and Lithuania Nations for many years, offered him to open a rich studio at his home. Hendrick van Uylenburgh was an influential Dutch Golden Age art dealer who helped launch the careers of Rembrandt. Van Uylenburgh came from a Frisian family and emigrated with this family to Kraków (Poland) when he was a boy. He was trained as a painter and also worked as an art buyer for the Polish king. Around 1612 he moved to Danzig (now Gdańsk) and in 1625 returned to the Netherlands, settling in the bustling capital of Amsterdam. Van Uylenburgh took over the business of Cornelis van der Voort and became an art dealer, employing painters in his own studio. In 1631 Rembrandt moved into van Uylenburgh’s house (adjacent to Rembrandt’s later home, now the Rembrandt House Museum) to work in Van Uylenburgh’s studio. Rembrandt became chief painter of the studio and in 1634 married Van Uylenburgh’s niece Saskia van Uylenburgh.

At this time there are already self-portraits.
At one time about ninety paintings were counted as Rembrandt self-portraits, but it is now known that he had his students copy his own self-portraits as part of their training. Modern scholarship has reduced the autograph count to over forty paintings, as well as a few drawings and thirty-one etchings, which include many of the most remarkable images of the group. Some show him posing in quasi-historical fancy dress, or pulling faces at himself. His oil paintings trace the progress from an uncertain young man, through the dapper and very successful portrait-painter to the troubled but massively powerful portraits of his old age. Together they give a remarkably clear picture of the man, his appearance and his psychological make-up, as revealed by his richly weathered face. In his portraits and self-portraits, he angles the sitter’s face in such a way that the ridge of the nose nearly always forms the line of demarcation between brightly illuminated and shadowy areas. A Rembrandt face is a face partially eclipsed; and the nose, bright and obvious, thrusting into the riddle of halftones, serves to focus the viewer’s attention upon, and to dramatize, the division between a flood of light -an overwhelming clarity- and a brooding duskiness. In a number of biblical works, including ‘The Raising of the Cross’, ‘Joseph Telling His Dreams’ and ‘The Stoning of Saint Stephen’, Rembrandt painted himself as a character in the crowd.

September at noon. You hear the bells of the Church of Leiden from 1628. On the walls of the yellow studio hanging images marked with the acronym “RHL” Rembrandus Hermanii Leidensia … ‘The parable of the rich man’ and ‘The pilgrims in Emaus’, self-portraits and portraits of relatives. One year ago Rembrandt began to accept students. At that time Rembrandt was discovered by the statesman Constantijn Huygens (father of the Dutch mathematician and physicist Christiaan Huygens), who procured for Rembrandt important commissions from the court of The Hague. As a result of this connection, Prince Frederik Hendrik continued to purchase paintings from Rembrandt until 1646.

When we look at him Rembrandt is a low growth. His face is full, cheeks flushed with blush. He is expected to attend a special guest in his blue studio.
September is getting better and better. You may have the impression that the he events have slowed down, and that new responsibilities do not bring life. There is a time to be calmly and do on his own, and not bother too much humor family members. Rembrandt as he is extremely warm, family and caring, finally plans to catch things up and watch over his affairs. He enjoys stability, security and confidence, so he attaches himself not only to his loved ones but also to the place where they live, the environment, the certain state of things around them. It is a great value for him and his family, and everything connected with it, but it is a little over-protective. In his letter to Huygens, Rembrandt offered the only surviving explanation of what he sought to achieve through his art: the greatest and most natural movement, it meens “de meeste en de natuurlijkste beweegelijkheid.” The word “beweegelijkheid” is also argued to mean “emotion” or “motive”.

It was during Rembrandt’s Leiden period (1625–1631) that Lastman’s influence was most prominent. It is also likely that at this time Lievens had a strong impact on his work as well. Paintings were rather small, but rich in details (for example, in costumes and jewelry). Religious and allegorical themes were favored, as were tronies. In 1626 Rembrandt produced his first etchings, the wide dissemination of which would largely account for his international fame. In 1629 he completed ‘Judas Repentant’, ‘Returning the Pieces of Silver’ and ‘The Artist in His Studio’, works that evidence his interest in the handling of light and variety of paint application, and constitute the first major progress in his development as a painter.
‘The Blinding of Samson’, 1636, ‘Belshazzar’s Feast’, 1635, seeking to emulate the baroque style of Rubens. With the occasional help of assistants in Uylenburgh’s workshop, he painted numerous portrait commissions both small (Jacob de Gheyn III) and large (Portrait of the Shipbuilder Jan Rijcksen and his Wife, 1633, Anatomy Lesson of Dr. Nicolaes Tulp, 1632).

At the attic studio comes 30-year-old Constantijn Huygens beautifully dressed
and welcomes Rembrandt and Jan Lievens. Constantijn Huygens is a Dutch writer, poet, scholar, translator, diplomat, traveler, father of Christian Huygens, famous physicist and astronomer. He is the secretary of the governor of Frederick Henry Orakeski, Prince of the United Republics. Rembrandt’s conversation began with encouraging him to take up mythological and religious themes. Rembrandt remains somewhat thoughtful. For he remains a memory of Pieter Lastman, a recognized painter of historical paintings, characterized by strong realism and great dramatic tension. At the friendly meeting Huygens ordered a portrait at Jan Lievens, while Rembrandt was about to paint his brother’s portrait.

II

Let us now look at Amsterdam’s Rembrandt times, the “largest commodity in the world”, which has become a leading financial institution in Europe. In the 17th century the Netherlands achieved a very high level of prosperity, becoming a trading power. Real power was in the hands of wealthy bourgeois, joined by a powerful trading company. In the Netherlands, not the aristocracy and court, but bourgeois as the dominant social group, shaping and imposing fashion, hence the specific nature of the Dutch fashion – it is one of the reasons for its distinctness from the court of French fashion. Characteristic for the lifestyle of the “regent” environment – bourgeois patrician, was the temperance and simplicity, even the severity of customs and clothing. The wives of the most powerful merchants, influencing the fate of the country, went shopping and supervised the house. There were no butlers in the house.

Think of the clothes in Dutch 17th-century portraits and you tend to think of black. Sober, conservative black, with sometimes (daringly) a hint of white. Your classic monochrome, in other words. But look at these paintings closely and you soon begin to realise that sober is the last thing these frocks are. Admittedly, in portraits such as Rembrandt’s astonishing Margaretha de Geer, what shines out is the inner life of the marvellously geriatric, formidable subject, not the outer trappings – a plain loose-fitting gown (in black, naturally) that blurs modestly into the murky background.

Black was predominant, partly because it implied “sobriety and modesty. But at least as important was the fact that it was fashionable. These days, when you go out somewhere special, the chances are that you reach for black. Well, for much of the 17th century it was like that in the Netherlands.”

Amsterdam in 1631, Rembrandt still thinks about his father. Hendrick van Uylenburgh, who lived in the Commonwealth of Nations (Poland) for many years, offered him to open a rich studio at his home. Rembrandt visits Van Uylenburgh because he has made the final decision to accept his offer. Through him, Rembrandt will receive prestigious orders. He is mainly painting portraits ordered by the richest families of Amsterdam.

– (Hendrick van Uylenburgh says) We never see people differently, just as monsters we do from them.

At Van Uylenburgh’s house, Rembrandt meets Venice merchant Nicolaes Ruts, who is dressed in rich clothes, indicating his social status: a coat of noble fabric lined with fur, covering leather hides, decorated with an elegant finish. The fur cap is in Russian style. This man in fact trades with Russia. Presumably holds a business letter in the left hand when it comes to talking to.

-(Merchants Nicolaes Ruts says) The church is a mill, that teaches its eternal truth, at the same time Christian the rites, liturgy of the Church, I never would forget that. But otherwise we also have to be, we should be more sensitive at the time. And it’s not about the absolute truth …but much more about understanding yourself fully. I would tell here I like the history of human feelings, and more I love to make people excited. You probably know who the saint Andrzej Bobola was, a martyr from distant Poland, he died as a martyr. The heretics
took his skin off. For he loved people. But his life reveals the extraordinary graces of heaven. My relative in the dream saw him. So, you should live with God fully! And this should be done.

-( Van Uylenburgh interrupted him)
At the same time you can become tolerant like the Poles. Are we like Poles? Yes, becoming ‘strangers’. In the German Länder it was about extending the strangeness to the furthest borders – this has caused many wars. To become strangers, in this age of humanity would mean: less interested in the countrymen themselves, and leave their lives for heaven. After all, God saves them finally. We therefore have to fulfill our daily duties as fully as possible. This is the basic task. There is a need to address the problem of integration in refugee issues, but it is still necessary to solve the problem of civilization of ours.. I would say, I too am guilty of the present situation in the world, and I am lost too… I learned that being with those I like is already enough. But in the Christian world a testimony is necessary. For I am as bad as the worst scoundrel, but thank God I am as good as the best angel. So I try things that have become in this era, keep them rich creatively, both for me and for people I deal with. We are not here just to make a living. We are here for this purpose; to enable the world to live more fervently, with a deeper vision, with a more beautiful spirit of hope and fulfillment. We are here to enrich the world, otherwise we would impoverish ourselves if we forget about this task. Success is the ability to move from one failure to another without losing enthusiasm. So, you can not survive the day without doing something for a person who will never be able to pay back. This is even more successful task. You need the courage to rise and speak. You also need to sit down and listen to. And there are few advantages that Poles do not have yet, and few mistakes they can avoid, Van Uylenburgh said. Nothing is eternal in this world, even our problems. And always happens what man does not expect. Great friends are engaged in pursuit of some ideal, in defense of a cause, in the quest for a job, Van Uylenburgh noticed that.

In house of Van Uylenburgh Rembrandt met Niklaes Ruts, he was in his mid-20s when he painted a striking picture of this fur merchant in Amsterdam.

-(Nicolaes Ruts) We do not want the Church who, as they say, it changes with the world. We want a church that will change the world. I’ve heard the last few words: There’s just enough of an imperceptible breeze to make matters go away, and what a man was prepared to give up, it suddenly appears as a contentless nonsense.

-(Rembrandt) But the Polish and Lithuanian Commonwealth is also an illusion, the biggest of all. The white race believes with all his heart – that it is their right to conquer the earth. To kill Ukrainians. Make war, kill our brother. The Cossacks killed Bobola, took his skin off him. Such a nation should not exist if there is any justice in the world, because its foundations are murder, theft and cruelty. On the other hand, with the interest we live on earth yet. Still on the ground we are.

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