Why This Is Rembrandt’s Masterpiece
WHEN in the course of human Events, it becomes necessary….
Welcome to the New American Digest: 2001-2022
After scanning its face again and again,
I began to scale it, picking my holds
With intense caution. About half-way
To the top, I was suddenly brought to
A dead stop, with arms outspread
Clinging close to the face of the rock
Unable to move hand or foot
Either up or down. My doom
Appeared fixed. I MUST fall.
There would be a moment of
Bewilderment, and then,
A lifeless rumble down the cliff
To the glacier below.
My mind seemed to fill with a
Stifling smoke. This terrible eclipse
Lasted only a moment, when life blazed
Forth again with preternatural clearness.
I seemed suddenly to become possessed
Of a new sense. My trembling muscles
Became firm again, every rift and flaw in
The rock was seen as through a microscope,
My limbs moved with a positiveness and precision
With which I seemed to have
Nothing at all to do.
My head knocks against the stars.
My feet are on the hilltops.
My finger-tips are in the valleys and shores of
universal life.
Down in the sounding foam of primal things I
reach my hands and play with pebbles of
destiny.
I have been to hell and back many times.
I know all about heaven, for I have talked with God.
I dabble in the blood and guts of the terrible.
I know the passionate seizure of beauty
And the marvelous rebellion of man at all signs
reading “Keep Off.”
My name is Truth and I am the most elusive captive
in the universe.
Comments on this entry are closed.
Nerdwriter may be a layman at art criticism, but he does get off some very good art videos. Rembrandt’s massive painting has lines, darks and lights, and movement. It exceeds the physical content of the painting, and unvarnishes the character of the Amsterdammer irregulars. Old Remmy wasn’t great because he could render and paint – he was great because he continued to innovate and loosen up. So much so, his career goes south on greased arquebus shot! He dies a debtor and is vilified by the city he revealed, and who at first loved him to fame.
That’s why I love Rembrandt. I love that he stuck a finger in their eye.
Thanks for posting this vid. A little story: years ago, when I worked in midtown Manhattan, on the occasional Friday evening immediately after escaping the office, I’d take the train uptown and walk over to the Metropolitan. My too-big-to-fail bank employer was a corporate sponsor for the museum, so employees could get in for free (or make a donation if they felt like it). Anyway, most of the time my whole point in going to the museum was to visit the rooms where a few Rembrandt’s were/are displayed. I do not claim to be anything but ignorant about the vast world of Western art, but I know what I like, and few things I know brought me the kind of joy and solace I took in sitting quietly for a while, staring at those too real portraits, almost believing that, at any moment, they would talk to me in Dutch. He and his contemporaries were brilliant. His paintings make me glad to be alive. Thanks, again.
Hi, Kerry!
I’ll be at The Met on Friday. I’ll say hello to a Rembrandt for ya!
Rembrandt’s “Night Watch” . . . ? What? Has this guy never seen Game of Thrones? Please. Give me a break! Also, I hate listening to nonbinary proletariats parroting Mrs. Hooper, my sophomore art appreciation teacher, when describing any, yes Any!, piece of art. Still, it is a pretty picture.
Thanks, Casey! If ANY of those portraits do, in fact, start a conversation with you, don’t tell me when you return. I’ll be so jealous! Har!
Have a wonderful time.