|Exhibition of Dutch Art 1450-1900 (1929: second edition)|
The Dutch Pictures at Burlington House. An Artist's Impressions.
To the average lover of pictures Frans Hals remains the painter of the "Laughing Cavalier" and of the nobler portrait groups at Haarlem, with a dim impression that in his old age the artists attempted something different. It is when Hals refrains from swaggering that he becomes a great master; it is when the cold clarity of his colour turns to grey and his perfect draughtsmanship takes on a more emotional aspect that he touches us most. No. 356 fulfils these conditions﹣we have here more than mere forceful representation; this has become tempered by gravity in mood and a more sensitive vision of life.
Rembrandt fills the big room No. 3. Let us look carefully, and a little wistfully. Most of these masterpieces are here for the last time. They will never be seen together again, save, perhaps, in America, which already holds more than one-third of the master's noblest canvases. What elements in his temper and practice link Rembrandt to the art of his country? Hardly anything, save in his earliest works, where he is influenced by Hercules Seghers and Honthorst in his slightly theatrical rendering of things half imagined, half seen. It is in the rapidly increasing torrent of his practice and, later still, under the stress of sorrow and debt, or yet later, when oppressed by the sordid difficulties of a tragic life, that his art stretched out into the realms of spiritual adventure, that he gains an inward and expressive force which has never been surpassed.
The "Oriental" (No. 169), the "Toilet" (No. 130), the "Man with a Hawk" (No. 98), and the "Lady with a Fan" (No. 99) show the brilliant climax of his early manner.
Rembrandt van Rijn and (mainly) workshop,
'Portrait of a Woman with a Fan', 1643
Lent by Charles Ricketts and Charles Shannon
|Exhibition of Dutch Art 1450-1900 (1929: second edition),|
p. 228, No. 589: 'Christ as Emmaus'