The Saber and Scroll Journal Volume 8, Number 2, Winter 2019 | Page 19
and Scroll
painter Karel van Mander (1548-1606),
in his book, argued that the only worthwhile
art is based on mythological, classical,
and allegorical scenes, categorized
as “history painting.” Anything else was
beneath an artist’s dignity. Portraiture,
though esteemed—depending upon the
subject of the portrait—was deemed
less prestigious, mainly due to the need
to flatter the patron. Paintings of streets,
shops, humorous subjects, and similar
genre scenes were another level down.
Landscapes and still life scenes occupied
the lowest category of all. In the seventeenth
century, an artist was judged by
his patrons; to be a history painter could
bring artists the patronage of nobility or
even royalty, which in turn would give
them enormous prestige and the possibility
of earning a good living. Rembrandt
had the talent for this. Further,
he acted on the ambition and pride that
his parents and teachers seemed to have
instilled in him from childhood. Most
artists became proficient in only one
skill and concentrated on a particular
type of imagery, such as portraits or
landscapes. Rembrandt proved able to
do most anything. Artistically, he found
great inspiration in the work of the Italian
painter Caravaggio (1571-1610)
and the Flemish painter Peter Paul
Rubens (1577-1640). Italian Renaissance
painters popularized the highly
rendered play of light and dark, called
chiaroscuro, which became a fad in the
Netherlands. Rembrandt carried this
use of dramatic light much further, as
he mastered both painting skills and the
art of etching. Moreover, he pioneered
the combination of genres, creating the
notion of not just a history painter, but