File:The art of the Louvre, containing a brief history of the palace and of its collection of paintings, as well as descriptions and criticism of many of the principal pictures and their artists (1905) (14579630908).jpg

Identifier: artoflouvreconta00pott (find matches)
Title: The art of the Louvre, containing a brief history of the palace and of its collection of paintings, as well as descriptions and criticism of many of the principal pictures and their artists
Year: 1905 (1900s)
Authors: Potter, Mary Knight, d. 1915
Subjects: Musée du Louvre Painting
Publisher: Boston, L.C. Page & company
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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it of Hen-drickje StofTels. This likeness of the faithful maidenservitor of the difficult latter years of his life, is justlyregarded as not only one of the greatest treasures of thisgallery, but as one of the great pictures of the world.Rembrandt himself did not often surpass it. Dressed in richest fur-bordered cloak that falls awayfrom her throat and shows the transparent muslinchemisette gathered over her breast, with her soft curlyhair falling in ringlets over her ears, with a green velvetcap, red-knotted on each side, big pearl earrings and apearl brooch at her bodice, and bracelets on her left arm,Hendrickje is as charmingly gowned as she is lovable inexpression. Big dark eyes looking out tenderly andbrightly, mobile, curved lips, and delicate chin, the wholeair of this maid who perhaps did become Rembrandtswife, is that of trusting sweetness, joined to a gentle re-pose that only emphasizes the general intelligence of thecountenance. She is sitting nearly full face and the light
Text Appearing After Image:
PORTRAIT OF HENDRICKJE STOFFELSBy Rembrandt Salon Carte 265 strikes her clear and brilliantly, the softness of the shadowunder her chin growing darker till it is lost in the richdeep tone of the cloak that melts into the darker back-ground. The picture was probably painted about 1652, at aperiod when Rembrandts flesh-tones had taken on thatgolden hue which generally is regarded as most charac-teristic, but which during his earlier years was precededby a brilliancy of colour as vivid as Velasquezs orVan Dycks. If this warm, molten tone is less like livingflesh, it is none the less marvellously beautiful. Here inHendrickje it is as if the deep shadows clustering behindher had but just vanished from across her face, theirtransit turning the fair flesh into a sympathetic mellow-ness. On every inch of this canvas is felt a penetratinginsight, a submerging of technique, an absorption in puresoul-rendering such as even Rembrandts greatest worksdo not always show. It is as if the realist and

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