Pictures Every Child Should Know / A Selection of the World's Art Masterpieces for Young People

by Mary Schell Hoke Bacon

When the Pilgrim Fathers, who had sought safety in Leyden, were starting for America, where they were going to oppress others as they had been oppressed, Rembrandt was just beginning his apprenticeship in art.

He was born at No. 3, Weddesteg, a house on the rampart looking out upon the Rhine whose two arms meet there. In front of it whirled the great arms of his father's windmill, though he was not born in it; and of all the women Rembrandt ever knew, it is not likely that he ever admired or loved one as passionately as he admired and loved his mother. He painted and etched her again and again, with a touch so tender that his deepest emotion is placed before us.

Rembrandt had brothers and sisters--five: Adriaen, Gerrit, Machteld, Cornelis, and Willem. Of these, Adriaen became a miller like his father, and presumably the old historic windmill fell to him; Willem became a baker, but Rembrandt, the fourth child, it was determined should be a learned man, and belong to one of the honoured professions, such as the law. So he was sent to the Leyden Academy, but here again we have an artist who decided he knew enough of all else but art before he was twelve years old. He found himself at that age in the studio of his first art-master, Jacob van Swanenburch, a relative, who had studied art in Italy, and was a good master for the lad; but Rembrandt became so brilliant a painter in three years' time, that he was sent to Amsterdam to learn of abler men.

The lad could not in those days get far from his adored mother; so he stayed only a little time, before he went back to Leyden where she was. There was his heart, and, painting or no painting, he must be near it.

Until the past thirty years no one has seemed to know a great deal of Rembrandt's early history, but much was written of him as a boorish, gross, vulgar fellow. Those stories were false. He was a devoted son, handsome, studious in art, and earnest in all that he did, and after he had made his first notable painting he was compelled by the demands of his work to move to Amsterdam for good. He hired an apartment over a shop on the Quay Bloemgracht; it is probable that his sister went with him to keep his house, and that it is her face repeated so frequently in the many pictures which he painted at that time. This does not suggest coarse doings or a careless life, but permits us to imagine a quiet, sober, unselfish existence for the young bachelor at that time.

Soon, however, he fell in love. He saw one other woman to place in his heart and memory beside his mother. His wife was Saskia van Ulenburg, the daughter of an aristocrat, refined and rich. He met her through her cousin, an art dealer, who had ordered Rembrandt to paint a portrait of his dainty cousin. Rembrandt could have been nothing but what was delightful and good, since he was loved by so charming a girl as Saskia.

He painted her sitting upon his knee, and used her as model in many pictures. First, last, and always he loved her tenderly.

In one portrait she is dressed in "red and gold-embroidered velvets"; the mantle she wore he had brought from Leyden. In another picture she is at her toilet, having her hair arranged; again she is painted in a great red velvet hat, and then as a Jewish bride, wearing pearls, and holding a shepherd's staff in her hand. Again, Rembrandt painted himself as a giant at the feet of a dainty woman, and in every way his work showed his love for her. After he married her, in June 1634, he painted the picture, "Samson's Wedding," "Saskia, dainty and serene, sitting like a princess in a circle of her relatives, he himself appearing as a crude plebeian, whose strange jokes frighten more than they amuse the distinguished company. ... The early years of his marriage were spent in joy and revelry. Surrounded by calculating business men who kept a tight grasp on their money bags, he assumed the rôle of an artist scattering money with a free hand; surrounded by small townsmen most proper in demeanour, he revealed himself as the bold lasquenet, frightening them by his cavalier manners. He brought together all manner of Oriental arms, ancient fabrics, and gleaming jewellery; and his house became one of the sights of Amsterdam." His existence reads like a fairy tale.

It is said that Saskia strutted about decked in gold and diamonds, till her relatives "shook their heads" in alarm and amazement at such wild goings on.

Before he married Saskia he had painted a remarkable picture, named the "School of Anatomy." It represents a great anatomist, the friend of Rembrandt--Nicholaus Tulp,--and a group of physicians who were members of the Guild of Surgeons of Amsterdam. It is so wonderful a picture that even the dead man, who is being used as a subject by the anatomist, does not too greatly disturb us as we look upon him. The thoughtful, interested faces of the surgeons are so strong that we half lose ourselves in their feeling, and forget to start in repulsion at sight of the dead body. A fine description of this painting can be found in Sarah K. Bolton's book "Famous Artists" and it includes the description given by another excellent authority.