Émile Michel - Rembrandt (1606–1669)

His Education

Rembrandt was born on 15 July 1606 in Leyden. No record of Rembrandts early youth has been discovered, but we may be sure that his religious instruction was the object of his mothers special care, and that she strove to instil into her son the faith and moral principles that formed her own rule of life. The passages she read, the stories she recounted to him from her favourite book, made a deep and vivid impression on the child, and in later life he sought subjects for his works mainly in the sacred writings.

Leyden offered few facilities for an art student during that period. Painting, after a brief spell of splendour and activity, gave way to science and letters. Rembrandts parents considered him too young to leave them, and decided that his apprenticeship should be passed in his native home. An intimacy of long standing, and perhaps some tie of kinship, determined their choice of master.

They fixed upon an artist, Jacob van Swanenburch, now almost all but forgotten, though greatly esteemed by his contemporaries.

Though Rembrandt could learn little beyond the first principles of his art from such a teacher, he was treated by Swanenburch with a kindness not always met with by such youthful probationers. During Rembrandts three years in his trust, his progress was such that all fellow-citizens interested in his future were amazed, and foresaw the glorious career that awaited him.

His noviciate over, Rembrandt had nothing further to learn from Swanenburch. Now being old enough to leave his fathers house, his parents agreed that he should go forth and strengthen his skill in a more advanced art-centre. They chose Amsterdam and master Pieter Lastman, a very well-known painter at that time. In his studio, methods of instruction much akin to those adopted by Swanenburch were in vogue, though the personal talent modifying them was of a far higher order.

The Stoning of Saint Stephen, 1625

Oil on wood, 89.5 x 123.6 cm. Muse des Beaux-Arts, Lyon

The Baptism of the Eunuch, 1626

Oil on wood, 63.5 x 78 cm. Rijksmuseum Het Catharijneconvent, Utrecht

Christ Driving the Moneychangers from the Temple, 1626

Oil on wood, 43 x 32 cm. The Pushkin Museum of Fine Arts, Moscow

Musical Allegory, 1626

Oil on panel, 63.5 x 48 cm. Rijksmuseum, Amsterdam

First Works Done in Leyden

The return of one so beloved by his family as Rembrandt was naturally hailed with joy in the home circle. But happy as he was to find himself thus welcomed, he had no intention of living idly under his fathers roof, and at once set resolutely to work. He had thrown off a yoke that had become irksome to him. Henceforth he had to seek guidance from himself alone, choosing his own path at his own risk. Amidst the evidence of youthful inexperience in these somewhat hasty works, we note details of great significance.

Saint Paul in Prison is dated 1627 and signed with his particular signature and monogram of that period. On examining the pale sunbeam, the serious countenance of the meditation, and Saint Paul pausing, pen in hand, to find the right expression for his thought, his earnest gaze and contemplative attitude, we recognise something beyond the conception of a commonplace beginner. We discern evidence of careful observation which Rembrandt in the full possession of his powers would have turned to higher account; but even with the imperfect means at his command, comes a striking effect. The patient and accurate execution of accessories such as the straw, the great iron sword, and the books by the apostles side, betokens a conscientious artist, who had applied to Nature for such help as she could give him.