Christians

"Because of the great zeal and devotion which I experienced in executing well the two pictures which His Highness commissioned me to make - the one being Christ's dead body being laid in the tomb [ 'The Entombment of Christ' ], and the other Christ arising from the dead to the consternation of the guards — these same two pictures are now finished through studious application, so that I am now disposed to deliver the same and so to afford to His Highness. For in these two paintings the greatest and most natural movement has been expressed [and rendered], which is also the main reason why they have taken so long to execute."

"A pious mind / Places honor above wealth - Rembrandt, Amsterdam 1634"

"version in original Dutch (origineel citaat van Rembrandt, in Nederlands): Door die grooten lust ende geneegenheijt die ick gepleecght hebbe int wel wtvoeren van die twe/ stuckens die sijn Hoocheijt mijn heeft doen maeken weesende het een daer dat doode lichaem Chrisstij/ in den graeve gelecht werd ende dat ander/ daer Chrisstus van den doode opstaet dat met/ grooten verschrickinge des wachters. Dees selvij/ twe stuckens sijn door stuijdiose vlijt nu meede/ afgedaen soodat ick nu oock geneegen ben om die/ selvijge te leeveren om sijn Hoocheijt daer meede/ te vermaeken want deesen twe sijnt daer die meeste/ ende die naetuereelste beweechgelickheijt . in/ geopserveert is dat oock de grooste oorsaeck is dat/ die selvijge soo lang onder handen sij geweest. - in margin: deessen 12 Januwarij 1639, Mijn heer ik woon op die binnenemster, thuijs is genaemt die suijckerbackerrij [in Amsterdam]."

"A painting is finished when the artist says it is finished."

"My discoveries came as a result of practising art. For me Rembrandt's drawings exemplify above all others, the sculptural values of space and form. The scholars live in a world apart, reading each others books but refusing all correction from artists; alas, it is our history they are ravaging!"

"Rembrandt was on a continuous journey of discovery; not on a production line of consistent art objects for the market-place, as the scholars hope to recreate him. His wide ranging methods and interests produced very wide ranging quality. He did not tidy away his less successful works, nor should the scholars do so. He has left us the fullest record of his explorations of any artist and naturally his work includes many comparative failures. But astonishingly, even some of his greatest drawings have been mis-attributed to minor students."

"Rembrandt was the sharpest observer of human behavior. This is his amazing strength and needs to be studied. We cannot understand him if we deny his use of models and de-attribute half his output. He was the most important signpost for artists. Scholarly antics have pushed him into a position where he is no longer trusted by the young. I have been preaching the need for a paradigm shift in the mind-set of the tribe of art historians for years. They need to start by experiencing practical art for themselves, or at minimum, have the humility to listen to those who have."

"If you look at early Rembrandt portraits, they are very linear and the brushstrokes are almost invisible. The late ones are much freer, and the brushstrokes are very obvious and as much a part of the work as the subject. These things are never intentional, and I cannot see how they can be explained."

"..on 'Christ Presented to the People' Rembrandt confronts us head on with the dramatic events described in the Bible. The Roman governor Pontius Pilate appears on the platform with his retinue. Beside him stand two prisoners, one of them Christ. The people are allowed to decide. On the extreme left of the platform someone stands ready with a jug of water. Pilate would wash his hands to demonstrate his innocence after the people had chosen. That Rembrandt used such a large copper plate to create this spectacular and strictly organized composition is admirable enough. He scored the angular and expressive lines of the many figures into the tough metal with a hard, sharp needle. But then he had the courage to remove large parts that had already been completed and start all over again."

"Rembrandt is the most transparent artist I know. What he proclaimed as his credo, the commentaries of his contemporaries and what we find in the drawings all add up to one obsessively truthful, artist. One who proclaimed that he drew from nature (life) and 'anything else (invention) was worthless in his eyes'. He could not have been clearer, yet because this credo directly contradicts the apparent credo of our times: the more an artist differs from nature the more 'creative' that artist is, Rembrandt's true gift to us has been excised."

"The Chinese regarded not acknowledging the brush and the marks it makes as a bit crude; to them, that was trying to cover something up, so not such a high form of art. European art historians don't look at China very much. But I suspect Rembrandt must have known Chinese drawings, and had probably seen a few. Amsterdam was a port, and the Dutch were trading a great deal in the Far East. For example, a Chinese master looking at Rembrandt's drawing of a family, now in the British Museum, would recognise it as a masterwork. (...) The trace of Rembrandt's hand is still alive. Your eye can go back and forth between brown ink: sister; fast mark: mother. How rewarding this is, to move from the physical surface of the paper to its disappearance when you read the “subject”, and then back again. How many marvelous layers does this drawing have? The mother has a double profile, Picassoesque. Was it an accident with the pen that he then used as a master would? Both profiles are fascinating about her character. Her skirt is a bit ragged, without any real detail; one seems to know this, and then marvels at how these few lines suggest it. Then, there's a passing milkmaid, perhaps glancing at a very common scene, and we know the milk pail is full. You can sense the weight. Rembrandt perfectly and economically indicates this with – what? Six marks, the ones indicating her outstretched arm. Very few people could get near this. It is a perfect drawing."

"In a way, Vermeer and Rembrandt are opposites. But Rembrandt is the greater artist, I think, because he's got more ingredients than Vermeer. Rembrandt put more in the face than anyone else ever has, before or since, because he saw more. And that was not a matter of using a camera. That was to do with his heart. The Chinese say you need three things for paintings: the hand, the eye and the heart. I think that remark is very, very good. Two won't do. A good eye and heart is not enough, neither is a good hand and eye. It applies to every drawing and painting Rembrandt ever made. His work is a great example of the hand, the eye – and the heart. There is incredible empathy in it."

"Rembrandt is revered as one of the greatest and most important figures in the trajectory of art, and for good reason. He was, by design or nature, a revolutionary. As such he is perhaps a uniquely qualified interlocutor with other cultures and civilizations. (...) For the first time in the history of art, the painting speaks for itself. To put it another way, as Malraux phrased it, Rembrandt was the first to touch the soul with his paintings. He went well beyond the subject matter, which is only a pretense of sorts, to reach a more profound truth. As one watches the trajectory of his career arc, he is always stretching further and further in his paintings, to find his own concept of 'beauty'. That is why he was influential for future generations. By throwing off the confines of classicism, he freed others to push their own boundaries in the pursuit of beauty through their own conceptions of truth.. ..André Malraux described Rembrandt as prophet. He drew from the past to unleash the future. It is an exciting thought. Of course, he came to be seen as a metaphor for virtuosity. André Gide made a wonderful compliment to Dostoyevsky by claiming that he was the greatest novelist because he created portraits in his writings like Rembrandt painted."

"His own house figures in many aspects of his work. This was his home, but it was also his workshop and his showroom. The most evocative room is his sunlit studio, where so many of his paintings evolved. In a way, it's still a workshop. Visitors are taught to make their own artworks here."

"Well, any draftsman knows about speed. I mean, Rembrandt drawings, you can see speed in them. I am interested in speed. I think most painters paint faster than they tell you."

"There's a drawing by Rembrandt, I think it's the greatest drawing ever done. It's in the British Museum and it's of a family teaching a child to walk, so it's a universal thing, everybody has experienced this or seen it happen. Everybody. I used to print out Rembrandt drawings big and give them to people and say: 'If you find a better drawing send it to me. But if you find a better one it will be by Goya or Michelangelo perhaps.' But I don't think there is one actually. It's a magnificent drawing, magnificent."

"Rembrandt to me is the greatest artist in history — not just because of his work, but also the impact that he had on the trajectory of art, by allowing artists to express themselves with unprecedented freedom. The DNA of Rembrandt can be found in Goya, Van Gogh, Picasso, Delacroix, Turner and all the way through to Russian avant-garde and Chinese contemporary art. That's what I would call transcendent influence."

"One thing that really surprises me is the extent to which Rembrandt exists as a phenomenon in pop culture. You have this musical group call the Rembrandts, who wrote the theme song to Friends—'I'll Be There For You.' There are Rembrandt restaurants, Rembrandt hotels, art supplies and other things that are more obvious. But then there's Rembrandt toothpaste. Why on Earth would somebody name a toothpaste after this artist who's known for his really dark tonalities? It doesn't make a lot of sense. But I think it's because his name has become synonymous with quality. It's even a verb—there's a term in underworld slang, 'to be Rembrandted,' which means to be framed for a crime. And people in the cinema world use it to mean pictorial effects that are overdone. He's just everywhere, and people who don't know anything, who wouldn't recognize a Rembrandt painting if they tripped over it, you say the name Rembrandt and they already know that this is a great artist. He's become a synonym for greatness."

"Alongside Leonardo and Michelangelo, Rembrandt is one of the three most famous artists ever, with whom the public is on a first-name basis; and the name Rembrandt has lent the cachet of greatness and the grace of familiarity to sell everything from kitchen countertops to whitening toothpaste to fancy hotels in Bangkok and Knightsbridge. No work of Rembrandt's has attained the iconic status of the David or the Mona Lisa; yet Rembrandt seems to rank with the greatest of the great."

"I gave up painting by 16. I secretly thought I would have been Rembrandt by then. I don't believe in genius. I believe in freedom. I think anyone can do it. Anyone can be like Rembrandt.. Picasso, Michelangelo, possibly, might be verging on genius, but I don't think a painter like Rembrandt is a genius. It's about freedom and guts. It's about looking. It can be learned. That's the great thing about art. Anybody can do it if you just believe. With practice, you can make great paintings."

"[Rembrandt] The most famous brand name in western art. In America alone it graces toothpaste, bracelet charms, restaurant and bars, counter-tops and of course the town of Rembrandt, Iowa just halfway around the world from the Rembrandt Hotel in Bangkok, Thailand. Funny thing is Rembrandt might have been quite pleased with such widespread notoriety. (...) Rembrandt was a realist craftsman who showed off his craft to sell his work. His paintings brim with self-confidence as this in bold oil sketch of the entombment of Christ painted with an almost modern bravado. His drawings were dashed off with a Zen-like assurance. His etchings complete and elaborate works of art in themselves which sold in great quantity to two Dutch middle class."

"During this period [1830 – 1900, in France], Rembrandt was appropriated as a symbolic figure by critics and painter-printmakers and assigned a heroic, cult-like artistic and political status. French critics molded and reinvented earlier anecdotal biographies.. ..to formulate an artistic persona that had particular meaning [for] nineteenthcentury French vanguard art and politics."

"Rembrandt was a model from the past that artists and critics [in France] sought out because he fulfilled their needs for a new 'non-ideal' exemplar, someone who could justify and bolster their own artistic projects and political views.. ..as a successful predecessor and he functioned as a mentor.. ..through the practical emulation of his artistic techniques.. .French artists did their utmost to absorb, invoke, subsume and usurp Rembrandt’s artistic persona in an effort to define their own identities."

"It's an exhilarating feeling, holding that painting, especially when you have studied it for so long and are now the sole proprietor of said piece. To an art lover, possessing a Rembrandt can be likened to winning the World Series, the Super Bowl, and the Stanley Cup all at once. You feel a real sense of almost being a part of the artist's mind."

"Two aphorisms about Rembrandt's paintings were drawn from his early biographies and repeatedly attributed to the artist by the French writers: 'A painting is finished when the artists says that it is finished' and 'A painting is not made to be sniffed', but contemplated from a distance.. .These paintings were identified with the latter years of Rembrandt's life, the period in which critics said he suffered most from financial pressures and a lack of public acclaim. Works identified with these final years were the most popular in France during the last decades of the nineteenth century."

"City chronicler Jan Orlers's 1641 account relates that 'he had no desire or inclination' to study at the university, and that 'his only natural inclination was for painting and drawing, so that his parents were compelled to take their son out of the School and following his own wishes to apprentice him with a Painter where he might learn the foundation and principles [of art]."

"But the first documented encounter [ of Rembrandt and Jan Six] was in 1647, 'when Rembrandt made a portrait etching of Jan Six', a work exactly calculated to gratify his self-image as a gentleman-virtuoso. What did the two men of unequal age, background, and ambition see in each other in 1647? Rembrandt had many pupils, assistants, and patrons, but few friends, least of all of the elegantly cultivated kind, personified by Jan Six."

"The picture of Jan Six, painted in 1654 is, then, a virtual encyclopedia of painting, from the loosest handling to the dry brush, sparely loaded with yellow, dragged over the surface at the edge of Six's right cuff; from the finest detail to the most impressionist daring. Yet Rembrandt manages to bring all this diversity of technique into a totally resolved single image. So that Jan Six does indeed stand before us much as we would dearly wish to imagine ourselves, all the contradictions of our character—vanity and modesty, outward show and inward reflectiveness, energy and calm—miraculously fitted together."

"Rembrandt was already deeply involved in his attachment to Rubens — at once adopting him as his model and fighting to have the differences noticed. His [painting] 'Descent from the Cross', also painted in 1631 for the Stadholder, was directly taken from the engraving after Rubens's greatest masterpiece in Antwerp Cathedral', while at the same time being a calculated Protestant response to the immense diapason of the [catholic] Flemish master's altar-piece."

"There's a Rembrandt trapped in this body. It's your job to find it."

"..the Rembrandt whom Constantijn Huygens had discovered was driven constantly to measure himself against the mark others had set: his Amsterdam teacher Pieter Lastman; his Leiden friend and rival Lievens;.. ..Most of all, though, and for an entire decade, Rembrandt measured himself compulsively against 'the prince of painters and the painter of princes': Peter Paul Rubens. To become singular, Rembrandt had first to become someone's double."

"There's a lot of great talent there [in Hollywood], but it's no place I wanted to spend much time. I'd rather spend time with Rembrandt and Goya at home. They're better company than those schmucks who never read Lord Of The Rings."

"Of all the Baroque masters, it was Rembrandt who evolved the most revolutionary technique and who seemed to grow into the Italians' spiritual heir. Where others needed five touches he was using one, and so the brushstrokes had begun to separate and could sometimes only be properly read from a distance. The exact imitation of form was being replaced by the suggestion of it: to some of his contemporaries, therefore, his paintings began to look unfinished. It was from the Venetians that he had learned to use a brown ground so that his paintings emerged from dark to light, physically as well as spiritually. Yet, despite a palette that was limited even by seventeenth century standards, he was renowned as a colorist for he managed to maintain a precarious balance between painting tonally, with light and shade, and painting in color. Just as form was suggested rather than delineated, so the impression of rich color was deceptive. Never before had a painter taken such a purely sensuous interest and delight in the physical qualities of his medium, nor granted it a greater measure of independence from the image."

"It is tempting to believe that Rembrandt might have owned, or seen, Chinese or Japanese paintings. But there is no evidence for this at all. Yet when we look at some of his drawings, notably those sketched freely in ink or ink wash, we find a combination of formal clarity and calligraphic vitality in the movement of pen or brush that is closer to Chinese painting in technique and feeling than to anything in European art before the twentieth century. This, in the absence of evidence to the contrary, we must attribute to coincidence and to Rembrandt's unique gifts as a draughtsman."

"Kolakowski, as we will see, has clearly depicted the religious life and the forms of community constructed by the cultured strata of the Dutch bourgeoisie. Spinoza lives in this world, with a vast network of simple and sociable friendships and correspondences. But for certain determinate strata of the bourgeoisie the sweetness of the cultured and sedate life is accompanied, without any contradiction, by an association with a capitalist Power ('potestas'), expressed in very mature terms. This is the condition of a Dutch bourgeois man. We could say the same thing for the other genius of that age, Rembrandt van Rijn. On his canvases the power of light is concentrated with intensity on the figures of a bourgeois world in terrific expansion. It is a prosaic but very powerful society, which makes poetry without knowing it because it has the force to do so."

"Did it ever occur to anyone how boring his pictures are?"

"A painting by Rembrandt not only stops the time that made the subject flow into the future, but makes it flow back to the remotest ages. By means of this operation Rembrandt achieves solemnity. He thus discovers why, at every moment, every event is solemn: he knows it from his own solitude."

"Probably no one has combined to as great a degree as Rembrandt a disciplined exposition of what his eye saw and a love of line as a beautiful thing in itself. His 'Winter Landscape' displays the virtuosity of performance of an Oriental master, yet unlike the Oriental calligraphy, it is not based on an established convention of brush performance. It is as personal as handwriting."

"Offhand, I think of the Schubert Fantaisie in F Minor. The weight of the melody here is such that you can't place where it is, or what it's coming from. There are not many experiences of this kind in music, but a perfect example of what I mean can be found in Rembrandt's self-portrait in the Frick. Not only is it impossible for us to comprehend how this painting was made; we cannot even fix where it exists in relation to our vision. Music is not painting, but it can learn from this more perceptive temperament that waits and observes the inherent mystery of its materials, as opposed to the composer's vested interest in his craft. Since music has never had a Rembrandt, we have remained nothing more than musicians."

"The psychological truth of Rembrandt's paintings goes beyond that of any other artist who has ever lived. Of course they are masterpieces of sheer picture-making. In the 'Bathsheba' he makes use of studies from nature and from antique reliefs to achieve a perfectly balanced design. We may think we admire it as pure painting, but in the end we come back to the head. Bathsheba's thoughts and feelings as she ponders David's letter are rendered with a subtlety and a human sympathy which a great novelist could scarcely achieve in many pages."

"Rembrandt painted about 700 pictures—of these, 3,000 are in existence."

"He can blend, like no one else, reality with mystery, the bestial with the divine, the most subtle and powerful 'craftsmanship' with the greatest, the loneliest depths of feeling that painting has ever expressed."

"Rembrandt was himself a universal spirit, and this spirit informs everything that he painted, so that a biblical legend, a carcass of an ox, a naked woman, his own self-portrait — all stand as symbols of an all-embracing sympathy. Perhaps only Shakespeare, in another art, has that kind of universal intelligence."

"Neither Imperial Russia, nor the Russia of the Soviets needs me. They don't understand me. I am a stranger to them. I'm certain Rembrandt loves me."

"There he Rembrandt stood, when everything was on the canvas [of the 'Night Watch'], but then he shook his head.. .In his opinion the two men [in the center] did not yet come forward into the foreground. Then he [Rembrandt] took up his large palette again, dicked his thickest brushes deep into the paint, and once again took on these two front figures with powerful strokes; here more depth, there more light. In this way he put everything to the test, in order to give an even more powerful relief to what needed to stand out. Then he saw that it was good, and that is how he left it."

"His temperament was that of a Prophet — a God-possessed man, brother to Dostoevski, and teeming with the future, a future he bore within him as the Hebrew prophets bore within them the coming of the Messiah, and as he bore within himself the past."

"About 1630, Constantijn Huygens in his briljant analysis of the figure of Judas in Rembrandt's 'Judas Repentant' argues that: 'Rembrandt had surpassed the painters from Antiquity, as well as the great sixteenth-century Italian artists when it came to the representation of emotions expressed by figures that act in a history painting'."

"Compare me with Rembrandt! What sacrilege! With Rembrandt, the colossus of Art! What are you thinking of, my friend! We should prostrate ourselves before Rembrandt and never compare anyone with him!"

"Rembrandt is so deeply mysterious that he says things for which there are no words in any language. Rembrandt is truly called a magician... that's not an easy calling."

"Above all the popular attracted him [Rembrandt], and in the squares, in the suburbs, the workers and the countryfolk appeared to him wearthy of attention.. ..their expressive gestures become more frankly marked, their attitude and their expressions are more natural... Rembrandt never stopped studying them. He loved living among the poor."