Rembrandt’s appearance and his work

Stanisław Barszczak, Visit of a Young Lady (part two)

Act III

In 1635, Rembrandt and Saskia moved into their own house, renting in fashionable Nieuwe Doelenstraat. In 1639 they moved to a prominent newly built house (now the Rembrandt House Museum) in the upscale ‘Breestraat’ (eng.: ‘Broadway’), today known as Jodenbreestraat (Jodenbreestraat 4,1011 NK Amsterdam-now) in what was becoming the Jewish quarter; then a young upcoming neighborhood. The mortgage to finance the 13,000 guilder purchase would be a primary cause for later financial difficulties. Rembrandt should easily have been able to pay the house off with his large income, but it appears his spending always kept pace with his income, and he may have made some unsuccessful investments. It was there that Rembrandt frequently sought his Jewish neighbors to model for his Old Testament scenes. Although they were by now affluent, the couple suffered several personal setbacks; their son Rumbartus died two months after his birth in 1635 and their daughter Cornelia died at just three weeks of age in 1638. In 1640, they had a second daughter, also named Cornelia, who died after living barely over a month. Only their fourth child, Titus, who was born in 1641, survived into adulthood. Saskia died in 1642 soon after Titus’s birth, probably from tuberculosis. Rembrandt’s drawings of her on her sick and death bed are among his most moving works.

During Saskia’s illness, Geertje Dircx was hired as Titus’ caretaker and nurse and also became Rembrandt’s lover. She would later charge Rembrandt with breach of promise (a euphemism for seduction under promise to marry) and was awarded alimony of 200 guilders a year. Rembrandt worked to have her committed for twelve years to an asylum or poorhouse (called a “bridewell”) at Gouda, after learning she had pawned jewelry he had given her that once belonged to Saskia.

By the late 1630s Rembrandt had produced a few paintings and many etchings of landscapes. Often these landscapes highlighted natural drama, featuring uprooted trees and ominous skies (‘Cottages before a Stormy Sky’, 1641; ‘The Three Trees’, 1643). From 1640 his work became less exuberant and more sober in tone, possibly reflecting personal tragedy. Biblical scenes were now derived more often from the New Testament than the Old Testament, as had been the case before. In 1642 he painted ‘The Night Watch’, the most substantial of the important group portrait commissions which he received in this period, and through which he sought to find solutions to compositional and narrative problems that had been attempted in previous works.

Rembrandt was more ready to improvise on the plate and large prints typically survive in several states, up to eleven, often radically changed. He now uses hatching to create his dark areas, which often take up much of the plate. He also experimented with the effects of printing on different kinds of paper, including Japanese paper, which he used frequently, and on vellum. He began to use “surface tone,” leaving a thin ink on parts of the plate instead of wiping it completely clean to print each impression. He made more use of drypoint, exploiting, especially in landscapes, the rich fuzzy burr that this technique gives to the first few impressions.

Rembrandt is at home now with his wife Saskie, no longer with her mother. Luxury house in Nieuwe Doelenstraat on the river Amstel. On the walls you can see pictures of the Polish nobleman and the Holy Family.

-(Rembrandt to his wife) I have admired the quest for absoluteness in religion for centuries. It is a fact that God can demand everything from his followers. In another way, the heresies lead to the result … The first fascist movement took place when Abraham wanted to kill his own child Isaac. Heresies are directed only at the end of the matter, not the people. But let them be like heresies. I also do not oppose the folklorization of religion. Because it will not be later. My painting sensitivity is not fully
like knowledge, scientific thing, you know. For example, the physicist is religious because he has a confidence, trust (german Verzeiung) to the ambiguity of processes in space for millennia, here I would say, there is a life and there is religion. This latter is my last risk. You have to do not give up. If you do not learn to strive for the future, then you have to take the resignation that I try to show in my pictures. A resignation as adequate display of the climate of the city lived from the inside. I learn my students to be sensitive. For this reason I love to wright story. I love to make people excited. My religiousness is based not on the beautification of human life, but on washing that, making it clean. In my opinion, a religion is like a young lady who enters a human life.

After a moment he commented on this sentence.
– Learn to paint it to learn strength. So, we are scared if we are not in harmony with each other. But save God, let’s pretend to be normal, since we can not be normal, otherwise we will not get out of here.

Saskia van Uylenburgh was strangely under her emotions. And with her innate power she replied:
– Racial prejudice has deteriorated prejudices and superstition faculties. It is necessary to talk about the slavery of the world, we need this, wandering as if in the fog! For life is loneliness. Nobody knows the other, everyone is alone. The only way to know how far we got into the dark is to save ourselves. You know that one, you can not be forever in the absurd state of passion. If one loves only beauty and purity, he loves only half of the being. That is why you can love me, because if I want that, I can exhaust any situation internally to the last end. You’d probably already convinced about it.

Then Saskia looked at Rembrandt’s emerging image. There was The Night Watch or The Militia Company of Captain Frans Banning Cocq, Rembrandt painted that large painting between 1640 and 1642. This picture was called De Nachtwacht by the Dutch and The Night Watch by Sir Joshua Reynolds because till the 18th century the picture was so dimmed and defaced that it was almost indistinguishable, and it looked quite like a night scene. After it was cleaned, it was discovered to represent broad day -a party of musketeers stepping from a gloomy courtyard into the blinding sunlight. The piece was commissioned for the new hall of the Kloveniersdoelen, the musketeer branch of the civic militia. Rembrandt departed from convention, which ordered that such genre pieces should be stately and formal, rather a line-up than an action scene. Instead he showed the militia readying themselves to embark on a mission. What kind of mission, an ordinary patrol or some special event, is a matter of debate.

Rembrandt’s wife Saskia van Uylenburgh died on June 14, 1642, aged 30 (probably tuberculosis).

Act IV

In 1647 Van Uylenburgh had to move to a new location on Dam square, because Nicolaes Eliaszoon Pickenoy sold the house. When his house on Dam square was appropriated to build a new city hall (now the Royal Palace), Van Uylenburgh relocated to Westermarkt square.

Luxurious house in Nieuwe Doelenstraat. In the corridor, images of ‘the Night Watch’, ‘Susan surprised by the Elders’, and the picture of ‘the Polish rider’. Rembrandt just finished it. In the late 1640s Rembrandt began a relationship with the much younger Hendrickje Stoffels, who had initially been his maid. In 1654 they had a daughter, Cornelia, bringing Hendrickje a summons from the Reformed Church to answer the charge “that she had committed the acts of a whore with Rembrandt the painter”. She admitted this and was banned from receiving communion. Rembrandt was not summoned to appear for the Church council because he was not a member of the Reformed Church. The two were considered legally wed under common law, but Rembrandt had not married Hendrickje. Had he remarried he would have lost access to a trust set up for Titus in Saskia’s will.

Rembrandt named Hendrickje Arusha. In love with Amsterdam, she is also attached to Rembrandt’s new home. The latter one day brought an ax to the house … she cut off head cock. There was a rooster, though he was not guilty of anything. It was only after that, she saw the men hanging from the trees and the woman cut to the bone outside the window. Live and dead bodies burned and fried over fire. Feet cut off to prevent escape and hands cut off to prevent theft. She saw boys and girls beaten, though they did nothing. That night the only feeling was her heart. And it penetrated deeply into her. Suddenly her slave part seemed to touch her human part. At this time she bent over Titus’s body. He was different, some colored by the light of a burning candle. At once she understood this bright truth … Over the years, Arusha noticed that racial violence became more violent in her expression. The ‘stolen’ bodies are working on a stolen country. You swallow hard when you discover that the old inn is a pharmacy right now that the place where you kissed the boy for the first time is now a discounted optical shop. Where you bought a jacket, now it’s rubble behind the blue plywood of the fence and an outline
of the Hanseatic League building. The enormous destruction has been made to your city. You say, “It happened overnight.”

Suddenly Rembrandt entered his house and immediately headed for his silver room. But from there he came back. So she would entered her mind. At first he looked at the unfinished portrait of Cornelia, Arusha then heard his words:
-Slavery is a sin that whites have turned into ballast but not african. Because all men are equal – unless we decide we are not human. If Niggers were going to have their freedom, they would not be in chains. If a red man would stick to his land, it would always be his. If a white man would not be destined for the reception of this new world, ‘conquer it’, he would not have had it to this day … This is the true Great Spirit, the divine fear that unites all human endeavors – if you can keep it, he is yours.

-(Arusha) My own pain is not as severe as the pain of someone’s feelings, pain for someone, multiplied by imagination … Love is not expressed in the desire to have sex but in the desire to have a common dream …. If a man was responsible only for that, what he is aware about, fools people would be exonerated from every fault. Only that, my dear, the man has a duty to know. Man is responsible for his ignorance too. Ignorance is his guilt … To serve God it means to serve heaven. In heaven we will worship God. We will be happy forever there. There is a place in heaven where you will find us. It will be community of individuals (full), they perform tasks. The new body after the resurrection of ours, it will not be material, the new body will not pass, will not be limited as temporal. It will receive the form of what we have made of it in the earthly life … In heaven we will build profound visible relations. Sexology will not be necessary. Maximum growth. Our self, in heaven we would find it.

At that time someone changed the fate of Rembrandt. He lived beyond his means, buying art (including bidding up his own work), prints (often used in his paintings) and rarities, which probably caused a court arrangement to avoid his bankruptcy in 1656, by selling most of his paintings and large collection of antiquities. The sale list survives and gives us a good insight into Rembrandt’s collections, which, apart from Old Master paintings and drawings, included busts of the Roman Emperors, suits of Japanese armor among many objects from Asia, and collections of natural history and minerals. But the prices realized in the sales in 1657 and 1658 were disappointing. Rembrandt was forced to sell his house and his printing-press and move to more modest accommodation on the Rozengracht in 1660. The authorities and his creditors were generally accommodating to him, except for the Amsterdam painters’ guild, which introduced a new rule that no one in Rembrandt’s circumstances could trade as a painter. To get around this, Hendrickje and Titus set up a business as art dealers in 1660, with Rembrandt as an employee.

Act V

We are in a small cottage in the Rozengracht district, 1663. Rembrandt ‘stinks poverty’. He just sold Saskie’s grave. But with him there is still Hendrickje Stoffels and ‘Christ at Emmaus’, his picture he just painted. A moment ago he came back from town. Arusha looked out of the pots with a sneaky glare at Rembrandt’s painting, ‘Self-portrait with two wheels’. And then she said:
– Is not it great when you are a kid and the world is full of anonymous things? Everything is bright and mysterious until you know what it is called, and then everything is scattered. Freedom was a community working for something beautiful and invisible. But here we have come to know everything, how could we love them now? Once upon a time, things had the real nature they were hiding behind the formal names beneath the skin that we later added to them. So, I would still like to see in my life a Victorian epoch as not yet a British but Irish legend. Simultaneously open up to the Word in full. For the Bible is like a map. You believe that is right, but you know it only through personal pursuit the same way. At the beginning of this road I meet Jesus, he later becomes the way, the truth and the life. It was at the command of Jesus to dry up the fig-tree … For many years I was unable to read the Bible. The latter was like to a forbidden word. It was like a forbidden fruit. But in the last few days I have learned to read it like a slave, this forbidden word in the time just given to me. And now according to the Bible I would like to keep faithfulness and goodness to others – because that is what I am to do about.

In 1661 Rembrandt was contracted to complete work for the newly built city hall, but only after Govert Flinck, the artist previously commissioned, died without beginning to paint. The resulting work, The Conspiracy of Claudius Civilis, was rejected and returned to the painter; the surviving fragment is only a fraction of the whole work. It was around this time that Rembrandt took on his last apprentice, Aert de Gelder. In 1662 he was still fulfilling major commissions for portraits and other works. When Cosimo III de’ Medici, Grand Duke of Tuscany, great Catholic, House of Florence, came to Amsterdam in 1667, he visited Rembrandt at his house. At a sunny day at Rembrandt’s house came 25-year-old Cosimo III de’ Medici, Grand Duke of Tuscany, susceptible to the suggestions and requests of the bourgeoisie of Amsterdam. The meeting was inspirational. Rembrandt asked him in puzzles that this a wonderful and pleasant man did not have to answer them.

Earlier 20th century connoisseurs claimed Rembrandt had produced well over 600 paintings, nearly 400 etchings and 2,000 drawings. Among the more prominent characteristics of Rembrandt’s work are his use of chiaroscuro, the theatrical employment of light and shadow derived from Caravaggio, or, more likely, from the Dutch Caravaggisti, but adapted for very personal means. Also notable are his dramatic and lively presentation of subjects, devoid of the rigid formality that his contemporaries often displayed, and a deeply felt compassion for mankind, irrespective of wealth and age. His immediate family- his wife Saskia, his son Titus and his common-law wife Hendrickje- often figured prominently in his paintings, many of which had mythical, biblical or historical themes.

Drawings by Rembrandt and his pupils have been extensively studied by many artists and scholars through the centuries. His original draughtsmanship has been described as an individualistic art style that was very similar to East Asian old masters, most notably Chinese masters.

Throughout his career Rembrandt took as his primary subjects the themes of portraiture, landscape and narrative painting. For the last, he was especially praised by his contemporaries, who extolled him as a masterly interpreter of biblical stories for his skill in representing emotions and attention to detail. Stylistically, his paintings progressed from the early “smooth” manner, characterized by fine technique in the portrayal of illusionistic form, to the late “rough” treatment of richly variegated paint surfaces, which allowed for an illusionism of form suggested by the tactile quality of the paint itself.

A parallel development may be seen in Rembrandt’s skill as a printmaker. In the etchings of his maturity, particularly from the late 1640s onward, the freedom and breadth of his drawings and paintings found expression in the print medium as well. The works encompass a wide range of subject matter and technique, sometimes leaving large areas of white paper to suggest space, at other times employing complex webs of line to produce rich dark tones…

Every day around five o’clock old Cornelis Anslo, a once-famous preacher of the whole Holland, was present, a silent old man with grayish beard, rare beard and eternally wiped eyes. He was sitting close to the Rembrandt’s bed; they smiled at each other. Their dialogue went beyond words and time. The sick man had a great need to confide in his own sureties and adopted patterns in his life. Sick anyway
he could not understand how to live without a home, without creaking stairs and handrails, without curtains and candlesticks. And also without canvas, the textiles, among which he spent his whole life.

Conclusion

Contrary to what is often said, the work was hailed as a success from the beginning. Parts of the canvas were cut off (approximately 20% from the left hand side was removed) to make the painting fit its new position when it was moved to Amsterdam town hall in 1715; the Rijksmuseum has a smaller copy of what is thought to be the full original composition; the four figures in the front are at the centre of the canvas. The painting is now in the Rijksmuseum.

In 1968 the Rembrandt Research Project began under the sponsorship of the Netherlands Organization for the Advancement of Scientific Research; it was initially expected to last a highly optimistic ten years. Art historians teamed up with experts from other fields to reassess the authenticity of works attributed to Rembrandt, using all methods available, including state-of-the-art technical diagnostics, and to compile a complete new catalogue raisonné of his paintings. As a result of their findings, many paintings that were previously attributed to Rembrandt have been removed from their list, although others have been added back. Many of those removed are now thought to be the work of his students.

Rembrandt’s own studio practice is a major factor in the difficulty of attribution, since, like many masters before him, he encouraged his students to copy his paintings, sometimes finishing or retouching them to be sold as originals, and sometimes selling them as authorized copies. Additionally, his style proved easy enough for his most talented students to emulate. Further complicating matters is the uneven quality of some of Rembrandt’s own work, and his frequent stylistic evolutions and experiments. As well, there were later imitations of his work, and restorations which so seriously damaged the original works that they are no longer recognizable. It is highly likely that there will never be universal agreement as to what does and what does not constitute a genuine Rembrandt…

Rembrandt outlived both Hendrickje, who died in 1663, and Titus, who died in 1668, leaving a baby daughter. He died within a year of his son, on 4 October 1669 in Amsterdam, and was buried as a poor man. Because of his empathy for the human condition, he has been called “one of the great prophets of civilization”.The French sculptor Auguste Rodin said, “Compare me with Rembrandt! What sacrilege! With Rembrandt, the colossus of Art! We should prostrate ourselves before Rembrandt and never compare anyone with him!” Francisco Goya, often considered to be among the last of the Old Masters, said “I have had three masters: Nature, Velázquez, and Rembrandt.” Vincent van Gogh wrote, “Rembrandt goes so deep into the mysterious that he says things for which there are no words in any language. It is with justice that they call Rembrandt ‘magician’ that’s no easy occupation.”

Rembrandt van Rijn, one of the greatest prophets of our civilization, died on 4 October 1669 in a small house in the Rozengracht district, one year after his son, where he lived with his 15-year-old daughter Cornelia. “Painter of the Soul” was buried on October 8 next to Saskia, Titus and Hendrickje at Westerkerk in Amsterdam as a poor man.

(My story is the author’s poetica license)

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