Rembrandt van Rijn Made me Cry

Happy Birthday Rembrandt van Rijn (July 15, 1606—October 4, 1669)

As a high school junior in a tough inner-city school in Pittsburgh, we were given a choice of three topics for a final essay. The topic I picked was “Does the light in Rembrandt’s paintings come from an internal or an external source?”

For a teenager, that sounded awfully deep. The problem was that there were no Rembrandt paintings in Pittsburgh’s public realm. I’m sure there were some in the private homes of such local ruling class figures as Andrew W. Mellon, Charles M. Schwab, Henry Clay Frick, Henry John Heinz, and Andrew Carnegie. But our museum was more blessed with dinosaur bones in the early 1960s than classic paintings.

And so I pored through art books at the Carnegie Library and deduced that in fact the light came from an internal source. I was completely captivated by this first immersion in great art and converted to a loyal admirer – to this day – of Rembrandt. I am dazzled by his paintings of his Jewish neighbors, his memoir of self-portraits, his biblical scenes, and his culinary still-lifes.

That summer I was one of six poor whites and six poor blacks (poor being quite a relative term in this case) to win a full scholarship to the ruling class Phillips Exeter Academy’s summer school. Among the other outcasts was the daughter of the wealthy UN ambassador from India. She should have been welcomed by the others of her class (Westmorland’s granddaughter among them – this was when he was running the war on Vietnam), but she was neither white nor American. At the end of the term she invited me to go home with her to New York City, where the Nanny was holding down the fort. She taught me how to use Tampax, and I thought of her every time I used one in the subsequent decades.

One day she took me to the Metropolitan Museum of Art and I rounded a corner and came upon a room full of Rembrandts. I was ambushed by awe and love and brilliance. There was a round couch in the middle of the room and, body trembling and senses overwhelmed, I sat down and burst out in tears. A uniformed museum worker, an old man, came over to me. “I’m sorry,” I shuddered. He patted my shoulder, “Don’t worry. This happens all the time in this room.”

Once I pulled myself together, I was able to understand his use of chiaroscuro, the light and shadow that had prompted my high school essay question. As I became an adult, I pursued Rembrandt van Rijn. When I was a college student, I fell in love with the little 1633 painting that seemed so out of character: The Storm on the Sea of Galilee. It was one of my go-to thrills when I would drop acid and explore the Isabella Stewart Gardner Museum in Boston while tripping. Years later, when I was living abroad and heard that it had been stolen in 1990 (never to be found), I took it quite personally.

I have since seen many Rembrandt van Rijn exhibitions, including Rembrandt’s Amsterdam house from 1639 to 1656 and the major works exhibited in that city’s Rijksmuseum. Once in Germany I saw a collection of his etchings that blew my mind all over again. As a kid writing about this marvelous painter, I don’t think I quite understood that I wasn’t alone in my extreme admiration. I didn’t realize that millions of people wondered if the light in his paintings came from internal or external sources.

Comments

[SUE C KELMAN]

I have always been blown away by the brutal honesty of Rembrandt's self portraits...wrinkled skin, tired eyes, bit of a battered countenance, and a look that says, "I have had a lifetime of trying to see into the heart of my subjects, and it's been rough going." Thank you for your reminder of his brilliance.