SASKIA VAN ULENBURG. By Rembrandt
THE WIFE IN ART
Rembrandt and Saskia Van Ulenburg
FOUR
Rembrandt Van Rijn and Saskia Van Ulenburg were married in 1634. Saskia, the daughter of a rather wealthy burgomaster who had died some years before, had been living with one after another of her sisters; for they, were all married except herself. Once when she was in Amsterdam a relative, who was posing for a portrait, took her to Rembrandt’s studio, where she met the sullen Hollander and saw him at his work. He must have been an odd figure in those days, awkward and shy, doing everything in his own queer way. Saskia returned again and again, making a deep impression on the artist. She posed for him several times. Once she was a queen, another time she was a flower girl. Rembrandt centered his whole thought and energy upon her, and as he had just passed the first breathing spell of success they were soon able to marry.
Saskia thought only of her husband’s happiness. He in turn was so deeply in love with her that he spent most of his leisure hours painting her portrait and much of his money buying jewels and gold ornaments and rich dresses of every description to adorn her.
Up to the time of his marriage Rembrandt had been stubborn and morose, not caring for society nor for ordinary pleasures. He was born on the outskirts of Leyden in 1607. His father, a miller, was hardly able to give the boy that education which is usually needed to become skilful in art. However, Rembrandt did study under Van Swanenburch, who taught him to draw, paint, and make etchings. He set up a studio in the mill, where he painted portrait after portrait of his mother, his sister, and himself. The artist liked better than anything to paint a well known face over and over again, by new lights and with new expressions.
After his first success, “Lesson in Anatomy,” Rembrandt moved his studio to an old warehouse in Amsterdam. His work became popular. The people of Holland fairly begged for sittings, and soon he was foremost among painters. Yet he paid little attention to anyone but Saskia; and his stubbornness offended patrons and made enemies of those who should have been his friends.
For nine years Rembrandt lived in happiness. Then came misfortune. Extravagance carried him into debt. His children died, and soon after his beloved Saskia followed them. His enemies barred his pictures from exhibitions. At last all his property was sold to satisfy creditors. His paintings went out of fashion. Their owners even used the frames again by covering up Rembrandt’s canvases, of incalculable value, with the work of some other artist whose pictures were in vogue at the time.