768 pages, Alfred A. Knopf, Inc.,
ISBN-13: 978-0679402565
It
is 1629, the 60th year of the war for the Netherlands. Prince
Huygens, Rembrandt's benefactor, deciphers intercepted dispatches in the Prince
of Orange's headquarters at Hertogenbosch. In Calvinist controlled Leiden, 25-year-old Rembrandt Harmenszoon van Rijn takes to portraying himself in armor. By 1631, when
Rembrandt relocates to Amsterdam, the city's competing churches have come to a
grudging accommodation. Despite the fractious political climate the city is a
hotbed of manufacture and trade with the Orient. The savor of spices and
silks, the rhythms of urban industries – cloth fabrication, paper making, gem
cutting, weapons forging, chimes through its neighborhoods. The artist thrives
for a time in the vibrant economic climate. His pictures of prosperous burghers
(and of course, himself) and religious scenes ingrain an exotic, cross cultural
vocabulary and intrigue.
Simon Schama's
Rembrandt's Eyes is an analysis of the paintings of this master and is as scholarly as his depictions of the historical
forces which were shaping them, in a Europe ripped apart by religious war. He looks
also into the unsettled ambition embedded in Rembrandt's artistry; no major
artist of his time or since has painted so many self-portraits, in so many
guises, and no other artist absorbed more of the texture of his time and place. His
influences were political, theological, social as well as aesthetic and
developed into an idiosyncratic genius. Rembrandt's eyes, as the author notes,
provide a lens into these turbulent times and the passions of the artist.
Twenty years from conception to print, Schama's opus spans its subject with a
detail as fine as the lace on one of the artist's collar pieces.
The
author contrasts Jean Paul Rubens's ethereal idealism to Rembrandt's earthy
colloquialism as metaphor for the political divisions of the times, with Rembrandt treading new ground in art. The compassionate consideration of human
dilemmas and blemishes was a rebellion against the politicization of art in a
time when painting was dogmatic and polemical. Rembrandt's tactile
accouterments and lustrous colors gave a vivid quality to metal, fabric or
paper. The works had plural focal points producing a visual dynamic: the creamy
pallor of irradiated faces are juxtaposed against some intricately detailed
artifact – lace, gemstone, coral, armor – and those against props providing
subtle sub-texts. They are bathed in an illogical light which seems to emanate
rather than reflect from its characters. A narrative and cosmopolitan bustle
energizes his artwork.
The Repentant Judas is one the best studies of the
artist's ability to synthesize surreal contexts and intensely expressive
figures into a cohesive spirituality. Schama spends 12 written pages on that
magical evocation of purposeful community The
Night Watch, while Two Old Men Disputing
shows Rembrandt's preoccupation with representing age and decay in dignified
elegance. He had, though, had no talent for business or orderly finances and was a compulsive accumulator and a mark for bad investments (that would
eventually impoverish him even as his fame became well established0. This was
not lost in his later portraits, more abstract and rendered with a pensive, somber
defiance. The stern expressions of The
Sampling Officials could well be those of his creditors. Some transcendence
reasserted itself in his final works, most remarkably in vital mysteries of The Jewish Bride and Simeon and the Christ Child.
Schama
writes objective prose, with an impressive command of his subject. This is no
esoteric meditation. It is an exhaustive study of the development of a craft
and of the society that spawned it. The book is a beautifully composited coffee
table book with a distinctive literary and historical flavor. Schama has
produced one of the great artist biographies of all time, and a depiction of an
age, as any age is most clearly represented by its art.
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