Rembrandt Van Rijn and Saskia Van Ulenburg were married in 1634.
Saskia, the daughter of a rather wealthy burgomaster who had died
some years before, had been living with one after another of her
sisters; for they, were all married except herself. Once when she was
in Amsterdam a relative, who was posing for a portrait, took her to
Rembrandt’s studio, where she met the sullen Hollander and saw him
at his work. He must have been an odd figure in those days, awkward
and shy, doing everything in his own queer way. Saskia returned again
and again, making a deep impression on the artist. She posed for him
several times. Once she was a queen, another time she was a flower
girl. Rembrandt centered his whole thought and energy upon her, and as
he had just passed the first breathing spell of success they were soon
able to marry.
Saskia thought only of her husband’s happiness. He in turn was so
deeply in love with her that he spent most of his leisure hours
painting her portrait and much of his money buying jewels and gold
ornaments and rich dresses of every description to adorn her.
Up to the time of his marriage Rembrandt had been stubborn and morose,
not caring for society nor for ordinary pleasures. He was born on the
outskirts of Leyden in 1607. His father, a miller, was hardly able to
give the boy that education which is usually needed to become skilful
in art. However, Rembrandt did study under Van Swanenburch, who taught
him to draw, paint, and make etchings. He set up a studio in the mill,
where he painted portrait after portrait of his mother, his sister, and
himself. The artist liked better than anything to paint a well known
face over and over again, by new lights and with new expressions.
After his first success, “Lesson in Anatomy,” Rembrandt moved his
studio to an old warehouse in Amsterdam. His work became popular. The
people of Holland fairly begged for sittings, and soon he was foremost
among painters. Yet he paid little attention to anyone but Saskia; and
his stubbornness offended patrons and made enemies of those who should
have been his friends.
For nine years Rembrandt lived in happiness. Then came misfortune.
Extravagance carried him into debt. His children died, and soon after
his beloved Saskia followed them. His enemies barred his pictures from
exhibitions. At last all his property was sold to satisfy creditors.
His paintings went out of fashion. Their owners even used the frames
again by covering up Rembrandt’s canvases, of incalculable value, with
the work of some other artist whose pictures were in vogue at the time.
A law in Holland now forbids the removal of a “Rembrandt” from that
country. His countrymen feel that no honor is too high to bestow on the
memory of that unfortunate artist who in 1669 died unrecognized and was
buried by charity.
PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION
ILLUSTRATION FOR THE MENTOR, VOL. 1, NO. 28, SERIAL NO. 28
[Illustration: MARIA RUTHVEN. BY VAN DYCK]
_THE WIFE IN ART_
_Anthony Van Dyck and Maria Ruthven_