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Show Suchare thoselater plates, like the Christ Appearin to His Disciples, of 1650,and the Christ Between Hi Parents, Returning from the Temple, of 1654, i which headoptsamuch broader am{P bolder manne of treatment. Ceasing to shade his plate with serie of closely hatched lines in order to secure that ton which isalways the principal personag in his pictor ial dramas (this is now left entirely to the printing he seeks henceforth simply to express the essentia character, the spiritual significance, of the scene, a briefly yet powerfully as possible No other artist, in western art at any rate, has eve carried expression through pure line as far as Rem brandt in this last period. }-fe himself, absorbed i the world of his own thought, eager only to utter hi own ideas, careless of appearances, carries it to th point where he sacrifices everything to it-beauty form, surface, modelling, texture -where his ver figures growgrotesque,inhuman,(as in the Entomb mentof 1654)and hisart, freed from every sensuou element, tends finally to take on a character of pur intellectual abstraction Very far from the abstract or intellectual,is anothe seventeenth century Dutch etcher who must b noted in this brief survey. Yet it is just because h stands on so much lower a level in every way tha Rembrandt-because, while having, comparatively solittle tosay, he says it,on the whole, so simply an directly-that Adrien van Ostade is a far better gen eral exemplar of figure-etching. It is the fashion t Digital mage © 2005 Marriott Library Universit of Utah, All rights reserved |