Rembrandt van rijn citáty

Rembrandt van rijn foto
1   14

Rembrandt van rijn

Datum narození: 15. červenec 1606
Datum úmrtí: 4. říjen 1669

Rembrandt, celým jménem Rembrandt Harmenszoon van Rijn [Haarmenszón fan Rejn] , byl nizozemský malíř, kreslíř, grafik a rytec. Je považován za jednoho z nejlepších malířů a grafiků západního umění. Doba jeho tvorby spadá do tzv. nizozemského zlatého věku, , období rozkvětu nizozemské společnosti a její kultury v 17. století. Slavným se stal již za svého života a záhy byl považován za největšího nizozemského malíře. Rembrandt ve svém díle prokazuje výjimečnou znalost klasické ikonografie, technicky mistrné zvládnutí šerosvitu a figurální malby. Jeho dílo zahrnuje portréty, zejména autoportréty, a také holandské krajiny a obrazy s mytologickými či biblickými tématy. Své obrazy podepisoval RH, později RHL . První obraz, který podepsal jménem Rembrant, byla Hodina anatomie doktora Tulpa .

Citáty Rembrandt van rijn

„A painting is not made to be sniffed. [but viewed from a distance - see also Rembrandt's quote in his letter to Constantijn Huygens, Amsterdam, 27 Jan. 1639]“

—  Rembrandt van rijn

Statement attributed to Rembrandt in early biographies, as quoted in The Rise of the Cult of Rembrandt: Reinventing an Old Master in Nineteenth-Century France (2003) by Alison MacQueen
One of the popular aphorisms about Rembrandt's paintings, drawn from his early biographies in early 19th century and repeatedly attributed to the artist by the French writers and artists [ https://books.google.nl/books?id=N0dVqAsR5k0C&pg=PA292&lpg=PA292&dq=The+Rise+of+the+Cult+of+Rembrandt:+Reinventing+an+Old+Master+in+Nineteenth-century+France&source=bl&ots=SgL2TN2Xct&sig=ZJuOkH35vmifBkzcu5ASLdLyhTI&hl=en&sa=X&ved=0ahUKEwjx17OkrpfVAhWKnBoKHQlxA0oQ6AEIVzAJ#v=onepage&q=The%20Rise%20of%20the%20Cult%20of%20Rembrandt%3A%20Reinventing%20an%20Old%20Master%20in%20Nineteenth-century%20France&f=false/The Rise of the Cult of Rembrandt: Reinventing an Old Master in Nineteenth-Century France, 2003,p. 287 ]
undated quotes

„Choose only one master — Nature.“

—  Rembrandt van rijn

As quoted in Rembrandt Drawings (1975) by Paul Némo, as translated by David Macrae
undated quotes

„Anno 1659 / On Wednesday, May 14 / You are requested to attend the funeral of / Aegtje Nachtglas / daughter of the late Jacob Pietersz / Nachtglas / at the Cleveniers-Doele [Amsterdam] at one o'clock. Come as friend of the house / Nieuwe-Kerck. [Verso] So eager to catch Christ out in his answer that they could not wait for written reply.“

—  Rembrandt van rijn

Inscription on Rembrandt's drawing 'Christ and the Woman taken into Adultary' https://tomcat.tiler01.huygens.knaw.nl/adore-djatoka/viewer.html?rft_id=http://localhost:8080/jp2/13288755182981.jp2, on the back of a funeral ticket, after May 1659; (Benesch 1047)
Gary Schwartz states in his 'Core list of Rembrandt drawings' - section 2: with inscriptions in Rembrandt's handwriting other than a signature: 'The authenticity of the drawing was called into question by Giltaij 2003, whose opinion is not shared by others, including myself' at the bottom http://remdoc.huygens.knaw.nl/#/document/remdoc/e12838
1640 - 1670

„I am most astonished by what has been written about the [painting] 'Alexander', which is so well done that I must suppose there are not many lovers of art [amatori] at Messina. I am also surprised that Your Lordship [Don Antonio Ruffo] should complain as much about the price as about the canvas, but if Your Lordship wishes to return it as he did the sketch [schizzo] of Homer, I will do another Alexander... If Your Lordship likes the Alexander as is, very well. If he does not want to keep it, six hundred florins remain outstanding. And for the Homer [painting] five hundred florins plus the expenses of canvas, it being understood that everything is at Your Lordship's expense. Having agreed to it, would he kindly send me his desired measurements. Awaiting the response to settle the matter.“

—  Rembrandt van rijn

Quote of Rembrandt's letter, Nov/Dec. 1662, to buyer Don Antonio Ruffo from Messina, Sicily (location: RD, 1662/12, 509); as quoted in Rembrandt's Eyes, Simon Schama, Alfred A. Knopf, Borzoi Books, NEW YORK 1999, p. 591, & notes 32-36
Rembrant's reaction after complaints of Don Antonio Ruffo, dispatched through the Dutch consul in Messina, Jan van den Broeck, who was on his way to Amsterdam. Once there he was to inform Isaac Just (presumably the intermediary between Rembrandt and the Messina patrician), of the intense dissatisfaction at the work, which Don Ruffo had received. 'The Alexander', he complained, being unacceptably stitched together from four separate pieces, showed seams which were 'too horrible for words.'..g with so many defects.. (Don Ruffo already bought Rembrandt's painting Aristotle with a Bust of Homer c. 1655 and still existing: https://commons.wikimedia.org/wiki/File:Rembrandt_-_Aristotle_with_a_Bust_of_Homer_-_WGA19232.jpg, but 'The Alexander' of Rembrandt is lost).
1640 - 1670

„Quote from Rembrandt's 5th letter to Constantijn Huygens (Amsterdam, 27 January 1639), as cited in The Rembrandt Documents, Walter Strauss & Marjon van der Meulen - Abaris Books, New York 1979, p. 167.“

—  Rembrandt van rijn

What Rembrandt is referring to is a little painting he sent Huygens as a gift together with his letter. This quote clarifies Rembrandt's option about the light and distance, necessary for showing his painting and its colors in the right way.
1630 - 1640
Originál: (nl) version in original Dutch (origineel citaat van Rembrandt, in Nederlands): ..soo ist door [mijn] geneegentheijt [voor Huygens de raadspensionaris] tot sulx tegens mijns/ heeren begeeren dees bijgaenden douck toesenden [ bij de brief]/ hoopende dat u mijner in deesen niet versmaeden/ sult want het is die eersten gedachtenis/ die ick aen mijn heer laet./.. ..[postscriptum]: Mijn heer hangt dit stuck op een starck licht en dat men daer wuijt ken afstaen soo salt best voncken.

„Quote of Rembrandt's, from his short poem, 1634; on his own drawing of a lord with beard, very probably representing the court-master Burchard Grossmann in his 'album amicorum' (translation from the original Dutch: Anne Porcelijn)“

—  Rembrandt van rijn

1630 - 1640
Originál: (nl) version in original Dutch (origineel citaat van Rembrandt, in Nederlands): Een vroom gemoet / Acht eer voor goet - Rembrandt, Amsterdam 1634 http://remdoc.huygens.knaw.nl/#/document/remdoc/e4293

„Painting is the grandchild of nature. It is related to God.“

—  Rembrandt van rijn

As quoted in Rembrandt Drawings (1975) by Paul Némo, as translated by David Macrae
undated quotes

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„English text; as cited in A Dictionary of Thoughts: Being a Cyclopedia of Laconic Quotations from the Best Authors of the World, both Ancient and Modern (1908) by Tryon Edwards, p. 131.; second part, transl. by F. Heijnsbroek“

—  Rembrandt van rijn

Quote of Rembrandt, recorded by his pupil Samuel van Hoogstraten, 1678 http://remdoc.huygens.knaw.nl/#/document/remdoc/e14113; as cited by W.Gs Hellinga, Rembrandt fecit 1642: de Nachtwacht, Gysbrecht van Aemstel', J.M. Meulenhoff, Amsterdam 1956, p. 4 (translation from the original Dutch: Anne Porcelijn)
Rembrandt is teaching his student Samuel van Hoogstraten (c. 1642), http://www.dbnl.org/tekst/hell014remb01_01/ according to W. Gs. Hellinga
1640 - 1670
Originál: (nl) version in original Dutch (origineel citaat van Rembrandt, in Nederlands): Schikt u daer nae, dat gy 't geene gy alreets weet, wel leert in 't werk stellen, zoo zult gy de verborgentheden, daer gy nu na vraegt, tijts genoeg ontdekt zien...

„Autograph inscription on Rembrandt's drawing of the old City hall of Amsterdam, 9 July 1652; Benesch 1278 (translation from the original Dutch: Anne Porcelijn)“

—  Rembrandt van rijn

Rembrandt made this drawing two days after the old Town-hall at Dam square in Amsterdam was burned out; the spotlight attracted a lot of attention and various artists have drawn the remains of the historic building. Two days after the fire, Rembrandt laid down the ruins of the building in a drawing. He made the sketch on the spot, standing or seated at (or in) the old daring building on the Dam, as he himself wrote in the inscription. http://remdoc.huygens.knaw.nl/#/document/remdoc/e1643
1640 - 1670
Originál: (af) version in original Dutch (origineel citaat van Rembrandt, in Nederlands): Van d'waech af te sien statshuis van Amsterldam / doen 't afgebrandt was. / Den 9 july 1652. Rembrandt van Rijn.

„This is portrayed after my wife when she was 21 years old, the third day after we were betrothed, on the 8th of June 1633“

—  Rembrandt van rijn

https://en.wikiquote.org/wiki/Rembrandt#/media/File:Rembrandt_Harmensz._van_Rijn_088.jpg
1630 - 1640
Originál: (nl) Dit is naer mijn huijsvrou geconterfeit do si 21 jaer oud was, den derden dach als wij getroudt waeren.

„in a letter to Constantijn Huygens (Amsterdam, February 1636) on a Passion Cycle of 3 paintings, commissioned already in 1635 by the imperial court, as quoted in The Rembrandt Documents, Walter Strauss & Marjon van der Meulen - Abaris Books, New York 1979, p. 129“

—  Rembrandt van rijn

What Rembrandt is referring to in his phrase "I cannot refrain from presenting you, [dear] Sir, my latest work." is very probably one or more recent etchings, Rembrandt made.
1630 - 1640
Originál: (nl) version in original Dutch (origineel citaat van Rembrandt, in Nederlands): ..dat ick seer naerstich / doende ben met die drie passij stucken voorts / met bequameheijt aftemaeken die sijn excellencij / my selfs heeft geordijneert, een grafleg[ing] ende een Verrijsenis en een Hemelvaert / Chrisstij. / De selvijge ackoordeeren met / opdoening en afdoeningen vant Chruijs Chrisstij. / Van welken drie voornomden / stuckens een van opgemaekt is daer / Chrisstus ten Heemel opvaert ende / die ander twee [schilderijen] ruym half gedaen sijn.. ..En ken oock niet naerlaeten volgens mijn dienstwillijgen / gunst mijn heer te vereeren van mijn jonsten / werck vertrouwenden dat mij ten bessten sal / afgenoomen werder neffens mijne groeteenissen.. ..[wonend] niuwe doelstraet [Amsterdam], Feb. 1636 http://remdoc.huygens.knaw.nl/#/document/remdoc/e4428

„.. in order to etch, take white turpentine oil, and add half the turpentine to it; pour the mixture into a small glass bottle and let it boil in pure [? ] water for half an hour.“

—  Rembrandt van rijn

Rembrandt's 'recipe for a stopping-out varnish' on the verso of a drawing 'Landcape with a River and Trees', undated, c. 1654-55; (Benesch 1351) http://remdoc.huygens.knaw.nl/#/document/remdoc/e12886
It is evident that Rembrandt refers (alas fragmentarily) to a so-called 'stopping-out varnish', used to terminate the bite of acid in select areas of a plate that had already been exposed to the etching agent. Thus other portions will remain exposed to the acid to deepen the bite. Also Samuel van Hoogstraten, the first student of Rembrandt in Amsterdam, mentions the use of such a varnish in his 'Inleyding tot de Hooge Schoolde der Schilderkunst', Middelburg 1671 / Rotterdam 1678
1640 - 1670

„A painting is complete when it has the shadows of a god.“

—  Rembrandt van rijn

Statement attributed to Rembrandt in early biographies, as quoted in The Rise of the Cult of Rembrandt: Reinventing an Old Master in Nineteenth-Century France (2003) by Alison MacQueen
This quote is not to find in the source, Rise of the Cult of Rembrandt: Reinventing an Old Master in Nineteenth-Century France, 2003,p. 287 https://books.google.nl/books?id=N0dVqAsR5k0C&pg=PA292&lpg=PA292&dq=The+Rise+of+the+Cult+of+Rembrandt:+Reinventing+an+Old+Master+in+Nineteenth-century+France&source=bl&ots=SgL2TN2Xct&sig=ZJuOkH35vmifBkzcu5ASLdLyhTI&hl=en&sa=X&ved=0ahUKEwjx17OkrpfVAhWKnBoKHQlxA0oQ6AEIVzAJ#v=onepage&q=The%20Rise%20of%20the%20Cult%20of%20Rembrandt%3A%20Reinventing%20an%20Old%20Master%20in%20Nineteenth-century%20France&f=false/The
undated quotes

„[.. that he] would not touch the painting, nor finish it unless the claimant pays him the balance due or guarantees it by giving a security.“

—  Rembrandt van rijn

from a notary document, 1654 (location: RD, 1654/5, 310); as quoted in Rembrandt's Eyes, Simon Schama, Alfred A. Knopf, Borzoi Books, New York 1999, p. 569 - note 7
Rembrandt is rejecting the demand of the Portuguese Jewish merchant Diego d'Andrade, who rejected in 1654 the portray of his daughter which Rembrandt was painting, as "showing no resemblance at all to the head of the young daughter". D'Andrade demanded that Rembrandt immediately take up his brushes and finish the work to his satisfaction
1640 - 1670

„Lorem ipsum dolor sit amet, consectetuer adipiscing elit. Etiam egestas wisi a erat. Morbi imperdiet, mauris ac auctor dictum.“

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