The Wheeling daily intelligencer. [volume] (Wheeling, W. Va.) 1865-1903, 1870-08-19
ART EDUCATION.
NO. H..

NO. II.
Paul Rembrandt, a great master Of the
Dutch school, was the son Of miller
named Herman Gerretz, and SurnHmed
Van Ryan, that Is, Of the Rhine, because
his mill was situated upon a branch Of
that river, near LCydCn, between the vii
lage, Of Iicyderdorp and Konkerck. He
wis born on the 18th OF June, 1903, and
was christened in the name that has since
become so famous, that Of Rembrandt.
His father, y man Of means, determined
10 give him classical education 70 quail
iry him for the learned professions, aud &C.
cordinEiy sent the boy to Leyden; but a
love for painting Ind taken possession Of
his mind, and To practice was more plea
ure than the study Of tho dead languages
and legal authorities. His father noticing
his talent for painting, placed him under
a master TO study Who this master was
it's difficult to ascertain. for, like the seven
cities Of Greece contending Tor the birth
place Of Homer, numerous writers
have striven to place the illuStrious
painter with some fAvorite master,
as Ii the genius OF the pupil were
reflected back upon that Of the inStruc'
tor. But It Is immHterlal who said mas
ter was, for It y evident that Rembrandt
was not q follower Of any predecessor; he
had his own peculiar views Of art, the
predominant feature being originality.
Two great obstacles To be overcome by
artists Is Light and Expression. These
two powerful qualities were handled with
skill from his first sketches essayed In oil,
70 those mastery engrayings, the fruits Of
maturcr experience. Yet truthtulness in
detail was not q feature Of his success, as
with many artists, for tho magic Of his
chiRFoscuro, and the glowing beauty Of
his colors, cannot atone for the hideouS
vulgarity OF bis figures, their maSquerad.
ish costumes, and their inappropriate ap-
pearance on the scene Of action. They
had expression without noblenesS; Intel.
lcct, but not dignity; position, but not
plscc such was Tie success Of the artist
In the manipulation Of light, shade and
expression, that ono OF his frSt produc.
tons was purchased by wealthy ANA
teur, who gave him hundred forms for
IL At the ago Of tWenty.OuO he established
himself Of Amsterdam, where he began
painting portraits Of himself In q variety
q ways, leaving twenty-seven Of them
behind him At his death, which occurred
in 1914. His first ideas Of the principles
Of the peculiar style Of painting, In (which
he was an adept, was suggested by watch.
ing the play Of light on certain objects
that received It's rays through q small
window In the root Of his fathers mil,
and tho graduated shadows by which
they were surrounded. The brilliant
contrast Of light and darkness, where the
nays coming, In many cases, from q source
that Il difficult to determine, brings In
powerful relief the different objects TO be
portrayed. In looking at one q his pro
ductIonS, person Is Impressed with the
idea that e B an outdoor scene, but 1t
has neither tho brightness Of the sun nor
Of the moon, nor i II torch Light "Itis
the light Of the genius Of RemhTantN says
acritic Of art His delight waato deal with
the wind and the tempest he covered The
heavens with dark, and ominou thun-
der clouds, between which the sunlight
brealS with strange and supernatural
bEilliancy; or he brought forward heavy
masses Of foliage md deeply nhadoWed
fegroundS 70 tell against the brightness
Of IN evening sunset. DE A.