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

„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

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„Autograph inscription on Rembrandt's drawing of the old City hall of Amsterdam, 9 July 1652; Benesch 1278 (translation from the original Dutch: Anne Porcelijn)“

—  Rembrandt van rijn
Rembrandt made this drawing two days after the old Town-hall at Dam square in Amsterdam was burned out; the spotlight attracted a lot of attention and various artists have drawn the remains of the historic building. Two days after the fire, Rembrandt laid down the ruins of the building in a drawing. He made the sketch on the spot, standing or seated at (or in) the old daring building on the Dam, as he himself wrote in the inscription. http://remdoc.huygens.knaw.nl/#/document/remdoc/e1643

„Rembrandt's comments on his drawing of 'The Rest on the Flight into Egypt', as remembered by his former pupil Samuel van Hoogstraten c. 1643 (translation from the original Dutch: Anne Porcelijn)“

—  Rembrandt van rijn
Dresden museum, Kupferstichkabinett - author: Rembrandt Harmensz. van Rijn - Object: 'The Rest on the Flight into Egypt', Inventory number: C 1443 [document/remdoc/e4525]

„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

„.. 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

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„Quote from Rembrandt's 5th letter to Constantijn Huygens (Amsterdam, 27 January 1639), as cited in The Rembrandt Documents, Walter Strauss & Marjon van der Meulen - Abaris Books, New York 1979, p. 167.“

—  Rembrandt van rijn
What Rembrandt is referring to is a little painting he sent Huygens as a gift together with his letter. This quote clarifies Rembrandt's option about the light and distance, necessary for showing his painting and its colors in the right way.

„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 ]

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„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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