Frases de Rembrandt

 Rembrandt Foto
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Rembrandt

Fecha de nacimiento: 15. Julio 1606
Fecha de muerte: 4. Octubre 1669

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Rembrandt Harmenszoon van Rijn fue un pintor y grabador neerlandés. La historia del arte le considera uno de los mayores maestros barrocos de la pintura y el grabado, siendo con seguridad el artista más importante de la historia de los Países Bajos.[1]​ Su aportación a la pintura coincide con lo que los historiadores han dado en llamar la edad de oro neerlandesa, el considerado momento cumbre de su cultura, ciencia, comercio, poderío e influencia política.

Habiendo alcanzado el éxito en la juventud, sus últimos años estuvieron marcados por la tragedia personal y la ruina económica. Sus dibujos y pinturas fueron siempre muy populares, gozando también de gran predicamento entre los artistas y durante veinte años se convirtió en el maestro de prácticamente todos los pintores neerlandeses.[2]​ Entre los mayores logros creativos de Rembrandt están los magistrales retratos que realizó para sus contemporáneos, sus autorretratos y sus ilustraciones de escenas bíblicas. En sus autorretratos, especialmente, se observa siempre la mirada humilde y sincera de un artista que trazó en ellos su propia biografía.[1]​

Rembrandt tenía un profundo conocimiento de la iconografía clásica y en sus pinturas y grabados solía interpretarla libremente para ajustarla a su propia experiencia. Así, en la representación de una escena bíblica Rembrandt solía combinar su propio conocimiento del texto con su particular concepto de la composición clásica y algunas observaciones anecdóticas de la población judía de Ámsterdam.[3]​ Por la empatía con que retrató la condición humana, Rembrandt ha sido considerado «uno de los grandes profetas de la civilización».[4]​

Ningún artista combinó nunca tan delicada habilidad con tanta energía y poder. Diccionario Biográfico Chambers.[5]​

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Frases Rembrandt

„Choose only one master — Nature.“

—  Rembrandt van rijn
As quoted in Rembrandt Drawings (1975) by Paul Némo, as translated by David Macrae

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„English text; as cited in A Dictionary of Thoughts: Being a Cyclopedia of Laconic Quotations from the Best Authors of the World, both Ancient and Modern (1908) by Tryon Edwards, p. 131.; second part, transl. by F. Heijnsbroek“

—  Rembrandt van rijn
Quote of Rembrandt, recorded by his pupil Samuel van Hoogstraten, 1678 http://remdoc.huygens.knaw.nl/#/document/remdoc/e14113;as cited by W.Gs Hellinga, Rembrandt fecit 1642: de Nachtwacht, Gysbrecht van Aemstel', J.M. Meulenhoff, Amsterdam 1956, p. 4 (translation from the original Dutch: Anne Porcelijn) Rembrandt is teaching his student Samuel van Hoogstraten (c. 1642), http://www.dbnl.org/tekst/hell014remb01_01/ according to W. Gs. Hellinga

„I am most astonished by what has been written about the [painting] 'Alexander', which is so well done that I must suppose there are not many lovers of art [amatori] at Messina. I am also surprised that Your Lordship [Don Antonio Ruffo] should complain as much about the price as about the canvas, but if Your Lordship wishes to return it as he did the sketch [schizzo] of Homer, I will do another Alexander... If Your Lordship likes the Alexander as is, very well. If he does not want to keep it, six hundred florins remain outstanding. And for the Homer [painting] five hundred florins plus the expenses of canvas, it being understood that everything is at Your Lordship's expense. Having agreed to it, would he kindly send me his desired measurements. Awaiting the response to settle the matter.“

—  Rembrandt van rijn
Quote of Rembrandt's letter, Nov/Dec. 1662, to buyer Don Antonio Ruffo from Messina, Sicily (location: RD, 1662/12, 509); as quoted in Rembrandt's Eyes, Simon Schama, Alfred A. Knopf, Borzoi Books, NEW YORK 1999, p. 591, & notes 32-36 Rembrant's reaction after complaints of Don Antonio Ruffo, dispatched through the Dutch consul in Messina, Jan van den Broeck, who was on his way to Amsterdam. Once there he was to inform Isaac Just (presumably the intermediary between Rembrandt and the Messina patrician), of the intense dissatisfaction at the work, which Don Ruffo had received. 'The Alexander', he complained, being unacceptably stitched together from four separate pieces, showed seams which were 'too horrible for words.'..g with so many defects.. (Don Ruffo already bought Rembrandt's painting Aristotle with a Bust of Homer c. 1655 and still existing: https://commons.wikimedia.org/wiki/File:Rembrandt_-_Aristotle_with_a_Bust_of_Homer_-_WGA19232.jpg,but 'The Alexander' of Rembrandt is lost).

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„Anno 1659 / On Wednesday, May 14 / You are requested to attend the funeral of / Aegtje Nachtglas / daughter of the late Jacob Pietersz / Nachtglas / at the Cleveniers-Doele [Amsterdam] at one o'clock. Come as friend of the house / Nieuwe-Kerck. [Verso] So eager to catch Christ out in his answer that they could not wait for written reply.“

—  Rembrandt van rijn
Inscription on Rembrandt's drawing 'Christ and the Woman taken into Adultary' https://tomcat.tiler01.huygens.knaw.nl/adore-djatoka/viewer.html?rft_id=http://localhost:8080/jp2/13288755182981.jp2, on the back of a funeral ticket, after May 1659; (Benesch 1047) Gary Schwartz states in his 'Core list of Rembrandt drawings' - section 2: with inscriptions in Rembrandt's handwriting other than a signature: 'The authenticity of the drawing was called into question by Giltaij 2003, whose opinion is not shared by others, including myself' at the bottom http://remdoc.huygens.knaw.nl/#/document/remdoc/e12838

„.. in order to etch, take white turpentine oil, and add half the turpentine to it; pour the mixture into a small glass bottle and let it boil in pure [? ] water for half an hour.“

—  Rembrandt van rijn
Rembrandt's 'recipe for a stopping-out varnish' on the verso of a drawing 'Landcape with a River and Trees', undated, c. 1654-55; (Benesch 1351) http://remdoc.huygens.knaw.nl/#/document/remdoc/e12886 It is evident that Rembrandt refers (alas fragmentarily) to a so-called 'stopping-out varnish', used to terminate the bite of acid in select areas of a plate that had already been exposed to the etching agent. Thus other portions will remain exposed to the acid to deepen the bite. Also Samuel van Hoogstraten, the first student of Rembrandt in Amsterdam, mentions the use of such a varnish in his 'Inleyding tot de Hooge Schoolde der Schilderkunst', Middelburg 1671 / Rotterdam 1678

„A painting is complete when it has the shadows of a god.“

—  Rembrandt van rijn
Statement attributed to Rembrandt in early biographies, as quoted in The Rise of the Cult of Rembrandt: Reinventing an Old Master in Nineteenth-Century France (2003) by Alison MacQueen This quote is not to find in the source, Rise of the Cult of Rembrandt: Reinventing an Old Master in Nineteenth-Century France, 2003,p. 287 https://books.google.nl/books?id=N0dVqAsR5k0C&pg=PA292&lpg=PA292&dq=The+Rise+of+the+Cult+of+Rembrandt:+Reinventing+an+Old+Master+in+Nineteenth-century+France&source=bl&ots=SgL2TN2Xct&sig=ZJuOkH35vmifBkzcu5ASLdLyhTI&hl=en&sa=X&ved=0ahUKEwjx17OkrpfVAhWKnBoKHQlxA0oQ6AEIVzAJ#v=onepage&q=The%20Rise%20of%20the%20Cult%20of%20Rembrandt%3A%20Reinventing%20an%20Old%20Master%20in%20Nineteenth-century%20France&f=false/The

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„A painting is not made to be sniffed. [but viewed from a distance - see also Rembrandt's quote in his letter to Constantijn Huygens, Amsterdam, 27 Jan. 1639]“

—  Rembrandt van rijn
Statement attributed to Rembrandt in early biographies, as quoted in The Rise of the Cult of Rembrandt: Reinventing an Old Master in Nineteenth-Century France (2003) by Alison MacQueen One of the popular aphorisms about Rembrandt's paintings, drawn from his early biographies in early 19th century and repeatedly attributed to the artist by the French writers and artists [ https://books.google.nl/books?id=N0dVqAsR5k0C&pg=PA292&lpg=PA292&dq=The+Rise+of+the+Cult+of+Rembrandt:+Reinventing+an+Old+Master+in+Nineteenth-century+France&source=bl&ots=SgL2TN2Xct&sig=ZJuOkH35vmifBkzcu5ASLdLyhTI&hl=en&sa=X&ved=0ahUKEwjx17OkrpfVAhWKnBoKHQlxA0oQ6AEIVzAJ#v=onepage&q=The%20Rise%20of%20the%20Cult%20of%20Rembrandt%3A%20Reinventing%20an%20Old%20Master%20in%20Nineteenth-century%20France&f=false/The Rise of the Cult of Rembrandt: Reinventing an Old Master in Nineteenth-Century France, 2003,p. 287 ]

„[.. that he] would not touch the painting, nor finish it unless the claimant pays him the balance due or guarantees it by giving a security.“

—  Rembrandt van rijn
from a notary document, 1654 (location: RD, 1654/5, 310); as quoted in Rembrandt's Eyes, Simon Schama, Alfred A. Knopf, Borzoi Books, New York 1999, p. 569 - note 7 Rembrandt is rejecting the demand of the Portuguese Jewish merchant Diego d'Andrade, who rejected in 1654 the portray of his daughter which Rembrandt was painting, as "showing no resemblance at all to the head of the young daughter". D'Andrade demanded that Rembrandt immediately take up his brushes and finish the work to his satisfaction

„Painting is the grandchild of nature. It is related to God.“

—  Rembrandt van rijn
As quoted in Rembrandt Drawings (1975) by Paul Némo, as translated by David Macrae

„A painting is finished when the artist says it is finished.“

—  Rembrandt van rijn
Statement attributed to Rembrandt in early biographies, as quoted in The Rise of the Cult of Rembrandt: Reinventing an Old Master in Nineteenth-Century France (2003), by Alison MacQueen One of the popular aphorisms about Rembrandt's paintings, drawn from his early biographies in early 19th century and repeatedly attributed to the artist by the French writers and artist, Rise of the Cult of Rembrandt: Reinventing an Old Master in Nineteenth-Century France, 2003,p. 287 https://books.google.nl/books?id=N0dVqAsR5k0C&pg=PA292&lpg=PA292&dq=The+Rise+of+the+Cult+of+Rembrandt:+Reinventing+an+Old+Master+in+Nineteenth-century+France&source=bl&ots=SgL2TN2Xct&sig=ZJuOkH35vmifBkzcu5ASLdLyhTI&hl=en&sa=X&ved=0ahUKEwjx17OkrpfVAhWKnBoKHQlxA0oQ6AEIVzAJ#v=onepage&q=The%20Rise%20of%20the%20Cult%20of%20Rembrandt%3A%20Reinventing%20an%20Old%20Master%20in%20Nineteenth-century%20France&f=false/The

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