New-York tribune., 1871-11-04
REMBRANDT.
INDIVIDUALISM IN ART.

BOSTON, NOV. line NeW-England woman 8
Club held ts first evening reception last night in honor
Of NJ Athanase COquerel, fS who gave lecture not
previously delivered Boston, and not believe in this
country. His subject Rembrandt, as an Illustration
Of indyidualism R art The Club parlors beauti-
fully arranged and decorated. Flowers prOflse ana
dainty enough to have done honor a bride were bios
Sonng in and trailing from hanging baskets. The
French and American flags festOoned together for
drapery, and the walls hung with choice pictures
few Of them the property Of the Club thercst loaned
for the OCCASION Numerous guests of distinction were
present hut with regard to their names the Clubs prin
cipe Is kiss and tell There were bright eyes, and
bright diamonds, and point lace; men of pictures and
men OF poems: and To this brilliant audience Mrs. Julia
Ward Howe President introduced, in fitting phrase
Monsieur COQuere the distinguished representative OF
Christian culture She Dade him welcome in the OF
liberty of equality OF fraternity; and said that while
last year taught to pity France, she had now sent
| messenger to teach us to envy her.
Monsieur responded to this welcome with true French
| grace. 1t made him want he said to do great deal
better than he could He had already spoken of art in
Boston, and Of those who seemed to him to illustrate IN
di vdualsm art he had paused the great
of Rembrandt because it deserved in this relation
50 much more than a mere mention. Rembrandt was,
first Of ALL and above all, ndivdusst in politics. in
religion in art; the greatest representative of ndivdu
asm in art though not the greatest of artists Admir-
ing Rembrandt much Monsieur confessed to admirng
finding their works beautiful. But Rembrandt was
in some respects more astonishing He labored
under great disadvantages but he made Of his obstacles
steppin gstones of his impedments opportunities He
the last of the great painters and the first great
etcher and this last was no mean or unimpoTtant dis
tnctiOn. He lived from 1852 the greater part Of
the time in Leyden and Amsterdam in which last place
he died He never visited Italy but he by
ignorant Of italian art. He had most inquiring mind
In company with friend, he bought painting by
GiOrgione which used 10 hang in his studio. He
great purchaser Of eDgrayngs at great prices pro-
cured busts Of the EmperOrs, and everything else he
could get to make himself familiar with the history
Of Italy But while he studied Italy he was not con-
quered by her; he was neghbOr, not subject. An
early drawing OF his exists which made an accurate
copy OF the Last Supper till he to the three little
windows under the rafters. These three little windows
he did not like. He made big window instead and
changed the rafers to rays Of light sunshine and shade
his dominion.
The Dutch painters, before Rembrandt had been mi-
tating Italy and borrowing their inspiration
SO seTve they that they changed their Names
and gave italian forms to them Rembrandt initiated
He could not bear people copying what their
own eyes had not SEEN great many people know how
To paint or draw who do not know how to Rem
brandt believed that artists first lesson learn
how to his eyes. He abOred under what would have
been to lesser great disadvantages of climate sky,
and light. COlOrs and outlines distinct in Italy
The sky is blue and clear prOverb. The great
ians painted what they saw but Rembrandt did not
the same. He lived in damp country, q country Of
mists where few clearly defined outlines, and one
sees objects as they break forth from surrounding fog
COors ndistnct there also all taking somewhat the
hue Of mist MOreOverl the country is fat no noun
tains no great hills, even. Rembrandt painted
II as he it. In this damp country people require
more food than In the clearer south and their
outlines grow less defined, less shapely You do find
the 1.-THE symmetry Of the Italian peasant in the fufed
he them His genius truth, personal feeling
seeing with his own eyes, He much refOrmer
art Luther In religion; rebel against tradition
against the rules established by italian painters 3d. in
his pictures he painted distinct outlines because
he did not see them. But he had great power Whether
you will you must look hrs in his works. at the
precise spot which he desires you first behold Light
and shade his great secret Color and outline are
the whole of painting thought the Italian painters but
Rembrandt said no. light and shade should be the essen
tlal thing; and in his own pictures he made them
Everything which he could not put into full light he
threw into almost complete darkness. He wanted his
paintings regarded from satisfactory distance and
day told visitor who too near, that oil painting
was very unwhOlesome for the nose.
Rembrandt delighted fine toilets, fine Jewels heavy
silks; ne liked also flowing hair and streaming gray
boards. He loved to paint beautiful In beauti
ful clothes and he economical Of his Jewels
He was willing TO buy Jewels too, well as to paint
them and the good elders Of the church which he be-
lOnged much exercised In their minds because
Madame Rembrandt wore many They labored with
him in vain the subject The great painter was very
much In love with his wife, and he liked to clothe her
finely and then to paint her Into lis pictures for the
world to admire. He painted himself also, and some
times with two necklaces on at OF very precious
stones He painted portraits Of noble knights and
danes, which were REineey, magnificent full Of the
them, heavy with gold and velvet But II he was the
first painter of naSt he wa: also IL @ painter
loved to paint them almost as much as towes.
the SnS Of as 81
going out to nre at mark. As 1t s broad daylight the
known A cock, which has already been shot Is in the
hands Of girl OF ten or eleven The child s as usual
In this ray Of light Of w6S. color are her Clothes You
look little while, and that her petticoat Is blue, and
in that land Of dampness They all drowned in
light and they melt into each other The mist through
and the girl looks as she walking out Of fairy
most deal Of pnsSs T He % PAINTED ' 6uSneSs stan sc
utterly true that 1t s repplaiye and strong angel rs-
1G S s oy S snS Sn
spiritual attraction which makes It impossible that be-
Is I SShsrS aSd the fe SO and h
you cry ont In despair have them clothed; and he
asns s.Ss no
clothes slipped up to its waist and lie lips parted with
But no one iS 20 ideal be in his pictures on sacred
dSs' mot 1ssa tss enc Of t tine LORD IN
With his glory From the chair whence He has risen
streams Hood Of light which irrsdistes ths room, and
hs Gbaenee suggests yet than would his presence
RsmbrAndt was Protestant in art, and his finest
etchngS illustrative Of Bible themes. These he
treated according to the traditions of the elders
but 10 accordance with his ideas Of the true and the
Possibie His method Of teaching was different from
that OF other master The first thing he did when
he had house the Rarret Of t into study
rather into numerous ttlo studies In each Of
these be shut up pupil, letting student
what another one doing THIS Vas his device iCr
subject but he insised that they should ask each
other questions He would have each ones concep-
tion thoroughly his own. BY this method his school