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324 Route 39. THE HAGUE. Picture
To the left of the School of Anatomy, five other works by Rem-
brandt: 577. Head of a girl (ca. 1631); 565. His father (study of
a head; ca. 1629); 148. Portrait of himself, painted about 1629.
“147. Rembrandt, Susanna, on the point of stepping into her
bath, is alarmed by the presence of the two Elders (of whom one
only is distinguishable in the shrubbery), painted in 1637.
Placed by the side of the School of Anatomy and the Simeon (see below),
the merits of this work are too often overlooked. Yet Susanna, strongly
relieved against a dark background, is one of the most interesting female
figures ever painted by Rembrandt, being remarkably faithful to nature,
though not of classic beauty. In all probability the painter’s wife Saskia
stood to him as a model.
“8145. Rembrandt, Presentation in the Temple, usually called
‘Simeon in the Temple’, the earliest important composition of the
artist known, painted in 1634, soon after he settled at Amsterdam,
‘In the middle of the Temple, the fantastic architecture of which is
lost in the darkness, the light is concentrated on a group of seven per-
sons. Simeon with eyes raised towards heaven, and wearing a robe
glittering with gold, is represented kneeling, with the infant Christ in
his arms; the Madonna, in a light-blue robe, with folded hands, is also
kneeling; while Joseph on his knees offers the sacrificial doves. A little
to the left, as a counterpoise to Simeon, is the high-priest, with a long
flowing robe, and almost turning his back to the spectator, raising his
right hand, which gleams in the strongest light, in an attitude of bene-
diction. Behind the Virgin are two rabbis. To the left, in the back-
ground of the aisles, several groups are observed in the twilight, and to
the right in the chiaroscuro are a number of people ascending and
descending a stair. On the same side, quite in the foreground, are two
venerable old men sitting on a bench. The arm of the bench bears the
monogram R. H. (Rembrandt Harmensz) and the date 1631. This ad-
mirable little work, of the master’s earliest period, already exhibits the
bold touch and the striking effects for which Rembrandt is famous.
Burger. Musées de la Hollande.
Also to the left: 40. Aert de Gelder, Judah and Tamar. — 654.
Dutch School (ca. 1650), Skull; to the right: 554. G. Dubois, River-
scene (16527); 604. Joh. van Haensbergen, Still-life (4665); 393.
Pieter Lastman (Rembrandt’s teacher), Raising of Lazarus ( 1622);
531, Jan van der Heyde, Still-life; 80. Phil. Koninck, Mouth of a
river.
2. W. van Aelst, Flowers (1663); 440. Corn. Dusart, Tavern-
interior; 697. Abr. van Beyeren, Still-life; 553. Jan Steen, Rustic
festival, an early work; *438. P. Potter, Landscape with animals
(1652); 125. Casp. Netscher, Singing-lesson (1665) ; #36. S. Koninek,
Adoration of the Magi; *197. A. van de Velde, Wooded landscape
with cattle, a small picture, full of life and charming in colour, —
126. Casp. Netscher, Portrait of Mynheer van Waalwyk (1677); #218.
Phil, Wouverman, Landscape, known as the ‘Hay Cart’.
*129. Adriaen van Ostade, The Fiddler.
An itinerant fiddler, standing in front of an old and weather-beaten
house, is delighting a numerous audience. The representation of the scene
in the open air has given the artist an opportunity of introducing the
most varied effects of the reflection of light. Few of Ostade’s works can
compare with this in freshness of composition and finish of execution.
It was painted in 1673, when the artist was in his sixty-third year. |
