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for it is a painter's vision that unifies and merges them in a world created by baroque art where the continuity, the inter-dependence, and the uninterrupted flux of time are basic convictions. Then, go on to compare any one of Rembrandt's etchings with such drawings as you find on a Greek vase. In the one you have objects whose contours are significant in themselves against a flat, even background. In the other you find a comprehensive whole enclosed usually within four framing lines, and the several objects within this field are related more by their distance forward and backward inside it than by means of bounding lines. In Greek vase painting and relief you have a few parallel planes; in baroque art as a whole, as in Rembrandt in particular, you find depth in space, without parallel planes and with the axis of the composition at a diagonal to the plane presented by the surface of the print. Further, if you compare a Greek temple, such as the Parthenon, or the Doric temple at Paestum, with a Rembrandt picture, there are important differences in form, and Rembrandt shares his differences with the characteristic art of the Seventeenth Century. The temple is self-sufficient, complete in itself, a complacent, symmetrical unit, with an enduring equilibrium. The Rembrandt etching suggests as much as it states; there is something more outside the frame on every side, something of which you are aware even when you concentrate on what is within it, and there is always something in the distance,—a winding road, the top of a tree, a doorway perhaps,—that leads beyond to things not seen. Formally, baroque pictures are not self-sufficient, clear statements; there is always room for further exploration.

Again, I should like to speak of Rembrandt's development. His earliest works are, compared with his later, linear and open in treatment. His middle period still plays with the sunlit fields, and he even attempts effects of full luminosity. But in the later period the line is no longer anything in itself, the somber, rich organ chords of his mysterious, enveloping light and shade encompass all the creatures of his imagination. His influence has been so profound, and so pervasive in the nineteenth century revival of interest in landscape etching that what in him was an original, daring, and unprecedented creation has now become the normal, the safe, the expected thing. When we compare Rembrandt with the landscape elements in pictures of the sixteenth century, and with his contemporary Dutch landscape etchers, on the one hand, and then with Seymour Haden, Whistler, and Pennell, on the other, we see that the latter have received far more than they have given, and that they have received it mainly from Rembrandt.

When we proceed to discuss Rembrandt as an illustrator, we find a good test case by which the whole modern controversy about representation and abstraction in art can be approached. Why is Rembrandt an illustrator but not one in the sense that Gustave Doré or the men who contribute to the London Illustrated News are illustrators and therefore considered as not in the foremost rank of creative artists? His idiom was one which could be understood by his generation, but it would probably have been just as unintelligible to Raphael as the most obscure cubist designs are to many of the present. At the same time, as we have already noted, his work was, as all drawings in terms of lines must be, an intellectual abstraction with reference to the optical facts, a coherent but nevertheless arbitrary and partial set of symbols. His use of light and shade, especially, was unnatural in so far as it did not merely repeat what hap-

The image contains a page from a book or magazine, dated September 1934, focusing on the art of Rembrandt. The text discusses several aspects of Rembrandt's work in comparison with other styles and periods:

1. Baroque Art and Rembrandt's Etchings:

   • The text emphasizes Rembrandt's unique vision in his etchings, which unify and merge elements within a cohesive world created by Baroque art.
   • It compares Rembrandt's etchings with Greek vase paintings, noting that while Greek vase paintings often have objects against a flat background, Rembrandt's etchings are more complex, with a comprehensive whole enclosed in framing lines and depth through diagonal compositions.

2. Temple and Baroque Art:

   • The text contrasts Rembrandt's etchings with Greek temples, highlighting that while Greek temples are self-sufficient and symmetrical, Rembrandt's etchings suggest more external elements and a sense of ongoing narrative, akin to Baroque art.

3. Development of Rembrandt’s Style:

   • It mentions the evolution of Rembrandt's work, from early works that play with sunlit fields to later works characterized by rich, enveloping light and shadow.
   • His influence on later landscape etchers, like those in the 19th century, is noted, particularly his original and daring use of light and shadow.

4. Rembrandt as an Illustrator:

   • The text discusses Rembrandt's contributions to illustration, noting his use of lines and abstraction, which differ from the works of illustrators like Gustave Doré.
   • Rembrandt’s style is described as an intellectual abstraction, with coherent but arbitrary sets of symbols, and his innovative use of light and shadow, setting him apart from contemporaries.

Overall, the text aims to highlight Rembrandt's distinctive artistic approach and its lasting impact on the art world.

The image displays a page from a book or manuscript, dated September 1934. The text discusses the artistic styles and techniques of Rembrandt, comparing his work with that of Greek vase painters and Baroque artists.

Key points include:

1. Rembrandt's Artistic Vision: The text emphasizes that Rembrandt's art merges elements within a continuous and interdependent world, creating a sense of unity and flux of time.

2. Comparison with Greek Vase Painting: The author contrasts Rembrandt's etchings with those found on Greek vases. In Greek art, objects are depicted against a flat background with few parallel planes, while Rembrandt's art features depth and a diagonal composition.

3. Baroque Art: The text describes Baroque art as having a self-sufficient, symmetrical, and balanced quality, while Rembrandt's work is more exploratory and less self-contained, often leaving room for further interpretation.

4. Rembrandt's Development: The author discusses Rembrandt's progression from early works, which are simpler and linear, to his later, more complex and luminous pieces. The later works are noted for their rich use of light and shadow, influencing later landscape etching.

5. Influence on Landscape Etching: The impact of Rembrandt's style on landscape etching in the 19th century is highlighted, with his daring and original techniques becoming the norm and expected.

6. Rembrandt as an Illustrator: The text then shifts to discussing Rembrandt's work as an illustrator, questioning why he is not as recognized in this capacity compared to illustrators like Gustave Doré. It notes that Rembrandt's style, though complex and innovative, was not easily understood by contemporaries like Raphael, who found his designs obscure.

The document concludes with a note about Rembrandt's use of light and shade, which was unconventional and arbitrary, setting him apart from his contemporaries.

The image contains a text discussing art, specifically focusing on the works of Rembrandt and comparing them to those of Greek vase painting and other artists. Here's a detailed summary:

1. Baroque Art and Rembrandt's Vision:

   • The text begins by discussing the concept of a painter's vision that unifies and merges elements in a world created by baroque art, emphasizing continuity, interdependence, and the uninterrupted flux of time.
   • It compares Rembrandt's etchings with Greek vase drawings, noting that objects in Greek vase paintings are significant in themselves, often set against a flat background, and framed by lines.
   • In contrast, Rembrandt's etchings present objects in depth, with parallel planes and a diagonal axis of composition, creating a sense of space and depth.

2. Comparison with Ancient Greek Temples:

   • The text compares Rembrandt's etchings with Greek temples, such as the Parthenon, highlighting that while the temples are self-sufficient and complete, Rembrandt's etchings suggest more, implying there is something beyond the frame.
   • Baroque pictures are noted for their openness and potential for further exploration, unlike the self-sufficient nature of Greek temples.

3. Development of Rembrandt’s Artistic Style:

   • The text then discusses Rembrandt's development, noting that his early works were linear and open, while his middle period focused on luminosity and light effects.
   • His later works are described as rich in organ chords of light and shadow, encapsulating all creations of his imagination.
   • Rembrandt's influence is noted as significant in the nineteenth-century revival of landscape etching.

4. Rembrandt as an Illustrator:

   • The text then shifts to discussing Rembrandt as an illustrator, highlighting the controversy about representation and abstraction in art.
   • It compares Rembrandt to Gustave Doré and the contributors to the London Illustrated News, noting that Rembrandt's work was not merely illustrative but included abstract elements.
   • His use of light and shade is described as intellectual abstraction, with reference to optical facts, yet partial and symbolic, not merely mimetic.

5. Conclusion:

   • The text concludes by emphasizing the unique and complex nature of Rembrandt's artistic approach, which combines elements of both representation and abstraction, making him a pivotal figure in art history.

The text is dated 9TH, 1934, and is part of a collection, as indicated at the bottom of the page.

The image displays a page from a publication, specifically from the "POINTS OF VIEW COLLECTION," dated September 1934. The text discusses the artistic styles and techniques of Rembrandt, comparing them with those of Greek vase painters and the broader characteristics of Baroque art.

Here are the key points covered in the text:

1. Artistic Vision and Techniques:

   • Rembrandt’s work unifies and merges various elements in a manner akin to Baroque art, which emphasizes continuity, interdependence, and a flow of time without strict adherence to basic conventions.
   • Unlike Greek vase paintings that often display flat, outlined figures, Rembrandt’s etchings and paintings present a comprehensive depth through the use of contour, framing lines, and a sense of spatial arrangement.

2. Depth and Composition:

   • Greek vase paintings and some Renaissance works often use parallel planes to suggest depth.
   • Rembrandt, however, creates depth and a sense of the infinite through more complex spatial arrangements and the use of light and shadow, giving a sense of ongoing space beyond the frame.

3. Evolution of Rembrandt’s Style:

   • Early in his career, Rembrandt’s works were characterized by linear and open treatment.
   • In his middle period, he focused on luminosity and full tonality.
   • Later, he shifted towards more somber tones, rich organ chords of light and shade, and a more profound, encompassing approach to composition, reflecting a Baroque influence.

4. Comparison with Other Artists:

   • When comparing Rembrandt to his contemporaries like Dutch landscape etchers and painters such as Seymour Haden, Whistler, and Pennell, it becomes evident that Rembrandt’s work was more innovative and received greater recognition.

5. Rembrandt as an Illustrator:

   • The text questions why Rembrandt is not considered foremost among illustrators like Gustave Doré, despite his significant contributions.
   • Rembrandt’s work is noted for its intellectual abstraction and coherent yet arbitrary use of symbols, light, and shadow, which were not simply mimetic but added deeper meaning to his works.

The text emphasizes Rembrandt's unique contributions to art, particularly his mastery of depth, light, and composition that set him apart from his peers and predecessors.

The image shows a page from a book or an article discussing the art of Rembrandt, specifically focusing on his etchings and comparing them to Greek art and architecture. Here is a detailed summary of the text:

1. Comparison with Greek Art:

   • Rembrandt's etchings are compared with Greek vase drawings. Greek vase drawings have objects with significant contours against a flat background, while Rembrandt's etchings enclose a comprehensive whole within framing lines, with objects related by their distance and bounded by lines.
   • Greek vases use parallel planes, whereas Rembrandt's work suggests depth in space without parallel planes, with the composition axis diagonal to the print surface.
   • Greek temples are self-sufficient and complete, while Rembrandt's pictures suggest something more outside the frame, leading to further exploration.

2. Rembrandt's Development:

   • Rembrandt's development is discussed in three periods:
     • Earliest Works: Clear, linear statements with fields and heavens as distinct effects.
     • Middle Period: Line is no longer just a line; it encompasses light and shade.
     • Later Period: His influence on nineteenth-century landscape etching is noted, with his work being original and unparalleled.
   • Rembrandt's influence on later artists like Seymour Haden, Whistler, and Pennell is highlighted.

3. Rembrandt as an Illustrator:

   • The text discusses why Rembrandt is considered an illustrator rather than a creator in the modern sense.
   • His work is seen as an intellectual abstraction with reference to historical facts but is arbitrary and partial.
   • His use of light and shade is unnatural and does not merely depict what happens.

The text provides a deep analysis of Rembrandt's art, comparing it with classical Greek art and discussing his influence on later artists, while also exploring the nature of his illustrations.

The image is a photograph of a page from a book or document. The text on the page is in English and appears to discuss artistic principles, comparing different styles and periods of art, with references to Rembrandt and other historical considerations in art. The page has a header which reads "KEYPOINTS" on the top left and "COLLECTION" on the top right. The date "APRIL 9TH, 1934" can be seen on the bottom left corner, suggesting that the text might be from a publication or presentation from that date.

The text is well-organized into paragraphs and examines the differences between baroque art and the work of Rembrandt, touching on topics like spatial representation in painting, the use of light and shadow, and cubism compared to more traditional approaches to depicting reality. It seems to be part of a larger discourse or essay about art history or theory. There's a bit of underlining in one paragraph, indicating that someone has marked the text for reference or emphasis.

The image is a photograph of a page possibly from a book or a magazine. The text on the page discusses artistic concepts, contrasting elements in baroque art with Greek art, and focuses on Rembrandt's etchings and comparisons with Greek temples like the Parthenon. It talks about the nature of objects within a frame, the use of foreground and background, and differences in spatial depth.

The text also delves into Rembrandt's development as an artist over different periods, noting changes in his style from linear and open treatment to a mature form involving light, shadow, and complex chords. It evaluates Rembrandt's impact on landscape etching and how his work in the seventeenth century influenced contemporary artists like Seymour Haden, Whistler, and Pennell.

Additionally, the text touches on modern controversies about representation and abstraction in art, discussing the role of illustration in Rembrandt's work compared to illustrators like Gustave Doré and contributors to the "London Illustrated News." The use of light and shade in his work is also examined, highlighting its intellectual abstraction and unique qualities.

The page encompasses scholarly analysis about artistic technique, the influence of past and contemporary artists, and philosophical thoughts on the nature of representation in art.

The image shows a printed page from a book or document, featuring a block of text in English. The text appears to be an analytical or scholarly discussion, likely focusing on art history, specifically comparing the styles of Rembrandt and Greek vase painting. The content delves into the differences between these artistic traditions, examining elements such as composition, depth, framing, and the use of light and shadow.

Key Observations:

1. Text Content:

   • The text discusses the contrast between Rembrandt's Baroque style and the conventions of Greek vase painting.
   • It highlights how Rembrandt's works differ in terms of spatial depth, framing, and the relationship between foreground and background elements.
   • The passage also touches on Rembrandt's evolution as an artist, noting changes in his use of light, shadow, and linear composition over time.
   • It references Rembrandt's influence on later artists and his role in the development of landscape etching.

2. Layout:

   • The text is formatted in a standard, justified paragraph style.
   • There are no visible headings, subheadings, or bullet points, suggesting a continuous narrative or essay format.
   • The page includes a footer with the text "YYPOINTS COLLECTION" and a date, "9TH, 1934," indicating the source or collection name and the year of publication or archiving.

3. Visual Elements:

   • The page is clean and uncluttered, with no illustrations, diagrams, or additional graphics.
   • The text is presented in a serif font, typical of formal or academic publications.
   • The page appears to be part of a larger document, as suggested by the footer and the structured layout.

4. Contextual Clues:

   • The mention of "Rembrandt" and "Greek vase" suggests the text is from an art history or critical analysis context.
   • The discussion of "Baroque art," "linear and open treatment," and "light and shade" indicates a focus on artistic techniques and stylistic evolution.

Overall, the image depicts a page from an academic or critical text that explores the artistic differences between Rembrandt's Baroque style and the conventions of ancient Greek vase painting, with an emphasis on composition, depth, and the evolution of Rembrandt's techniques.

The image is a page from a book, featuring an article or essay. The text is written in a formal and academic tone, discussing the art of Rembrandt and comparing it to other forms of art, such as Greek vase painting and Baroque art. The author highlights the differences between Rembrandt's work and other art forms, emphasizing the unique qualities of his art, such as his use of light and shade, and his ability to create depth and space in his compositions. The text also touches on Rembrandt's development as an artist, noting how his early works were more linear and open, while his later works became more mysterious and enveloping.