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This image shows a page from The New York Times Magazine, specifically page 38, featuring an illustrated article titled “Master Draughtsman Of Them All” by John Canaday.

The article focuses on the Dutch master Rembrandt van Rijn and his exceptional skill as a draftsman. Canaday argues that Rembrandt’s drawings are not merely preparatory sketches but works of art in their own right—possessing the “completeness and the philosophical depth of a large canvas in oil.” He credits Rembrandt’s ability to capture both the visual and spiritual essence of his subjects, achieved not through formula but through direct, instinctive observation.

The page includes three black-and-white reproductions of Rembrandt’s drawings:

1. Self-Portrait (top left):

   • A sketch of Rembrandt himself, wearing a hat and looking thoughtfully toward the viewer.
   • Captioned: “SELF-PORTRAIT—Convenience, not vanity, made Rembrandt his own best model.”
   • Collection of Louis H. Silver.

2. Noah’s Ark (top right):

   • A dynamic, broad-stroke drawing depicting the moment Noah, his wife, sons, and a child enter the ark, with animals following behind.
   • Captioned: “NOAH’S ARK—In the broad style of his mature period, Rembrandt shows us the moment in the story of the Deluge when ‘Noah went in, and his sons, and his wife, and his sons’ wives with him’—as well as a child—rather than the more popular entrance of the animals. As a result we have a scene from a human drama rather than a fanciful circus parade.”
   • From the Art Institute of Chicago.

3. The Departure of Rebecca from Her Parents’ Home (bottom right):

   • A detailed, elaborately staged composition showing Rebecca and her entourage in a courtly, oriental-inspired setting.
   • Captioned: “THE DEPARTURE OF REBECCA FROM HER PARENTS’ HOME—In contrast with ‘Noah’s Ark’ above, this earlier drawing is a study for a composition in the conventionally elaborate taste of the period, more theatrical in effect and staged and costumed with the oriental trappings of a courtly event. The inscription below is a note for additions to be made in another version.”
   • Private Collection.

The article notes that an exhibition of Rembrandt’s drawings from public and private collections in the U.S. and Canada was opening at the Pierpont Morgan Library—a fact that situates this article in the mid-20th century context of museum education and art appreciation.

Overall, the page presents Rembrandt not only as a painter, but as a profound observer and storyteller through the medium of drawing—a “master draughtsman of them all.” The layout and tone reflect mid-century journalism’s attempt to make high art accessible and intellectually engaging to a broad readership.

This image appears to be a page from an old magazine or book, specifically "The New York Times Magazine," as indicated at the bottom right corner. The page features an article titled "Master Draughtsman Of Them All" by John Canaday, discussing the work of the renowned artist Rembrandt.

The page includes several illustrations, likely by Rembrandt, and the text accompanying the illustrations discusses his techniques and the significance of his drawings. There are three main images on the page:

1. At the top left, there is a self-portrait of Rembrandt, labeled as his "Self-Portrait." The text below it reads, "Convenience, not vanity, made Rembrandt his own best model."

2. At the top right, there is an illustration labeled "Noah's Ark." The accompanying text describes it as a scene from the story of the Deluge, showing Noah going in with his sons, wife, and the sons' wives, rather than the more popular entrance of the animals, highlighting a human drama rather than a fanciful circus parade.

3. At the bottom, there is an illustration titled "The Departure of Rebecca from Her Parents' Home." This is described as a study for a composition in the conventionally elaborate taste of the period, more theatrical in effect and staged with the oriental trappings of a courtly event. The text below it mentions a note for additions to be made in another version.

The overall tone of the page is informative, focusing on the artistic techniques and significance of Rembrandt's work. The illustrations are detailed and expressive, showcasing Rembrandt's masterful use of line and shadow.

This image is a scanned page from an old book or magazine, likely from a historical collection. It features an article titled "Master Draughtsman Of Them All" by John Canaday, which discusses the significance of drawings by old masters, particularly focusing on Rembrandt. The page includes three illustrations:

1. At the top left, there is a self-portrait of Rembrandt, accompanied by the caption: "SELF-PORTRAIT—Convenience, not vanity, made Rembrandt his own best model."

2. In the upper right, there is a sketch titled "NOAH'S ARK," which depicts a scene from the story of the Deluge, showing Noah and his family entering the ark. The caption describes the style and the focus on human drama rather than a fanciful circus parade.

3. At the bottom right, there is an illustration titled "THE DEPARTURE OF REBECCA FROM HER PARENTS' HOME," which is described as a study for a composition in the conventionally elaborate taste of the period, more theatrical in effect and staged.

The article discusses the importance of Rembrandt's drawings and their ability to capture both the visual and spiritual essence of his subjects. The page is from "The New York Times Magazine," as indicated at the bottom right corner. The paper shows signs of aging, with a yellowish tint and some wear.

The image is a spread from a magazine, featuring an article titled "Master Draughtsman of Them All" by John Canaday. The left page has a black-and-white portrait of a man with a hat and a mustache, identified as Rembrandt, with a caption that reads, "Self-Portrait—Conventional, not vanitas." The article discusses Rembrandt's sketches, which are considered some of the finest of their kind, and his love for drawing.

The right page contains three illustrations by Rembrandt, each with a brief description. The top illustration, titled "Noah's Ark," depicts a scene from the story of the Deluge, showing Noah, his wife, and his sons with their wives, as well as the animals entering the ark. The middle illustration, titled "The Departure of Rebecca from Her Parents' Home," shows a scene from the Bible where Rebecca leaves her home to marry Isaac. The bottom illustration is a self-portrait of Rembrandt.

The article is from The New York Times Magazine, and the illustrations are from the Art Institute of Chicago and the Private Collection. The page number is 30.

The image shows an open book with a page displaying an article titled "Master Draughtsman Of Them All" by John Canaday. The article features a drawing of Rembrandt, an old Dutch master artist, and discusses his drawings and sketches. The page also includes two black-and-white illustrations, one of Rembrandt's self-portrait and another of his drawing of Noah's Ark. The article provides insights into Rembrandt's artistic style and techniques, emphasizing the importance of his drawings and sketches in understanding his work.

The image shows a page from a book or magazine titled "Master Draughtsman Of Them All" by John Canaday, published in The New York Times Magazine. The page is divided into two main sections, each featuring text and accompanying illustrations.

Left Side:

• Title and Introduction: The left side contains the title "Master Draughtsman Of Them All" and an introductory paragraph discussing the significance of drawings by old masters. The text highlights the role of drawings as preliminary studies for paintings, their utility as references in studios, and the unique qualities of Rembrandt's drawings, which are praised for their depth, philosophical insight, and emotional resonance.
• Illustration: At the top left, there is a small black-and-white illustration of a man wearing a hat and a coat, labeled as a "Self-Portrait—Conveniently, not vanity, made Rembrandt his own best model." The illustration is credited to the "Collection of Louis H. Silver."

Right Side:

• Illustrations and Captions: The right side features two detailed black-and-white illustrations, each accompanied by descriptive captions:
  1. Top Illustration: Labeled "NOAH'S ARK—in the broad style of his mature period, Rembrandt shows us the moment in the story when 'Noah went in,' and his sons, and his wife, and his sons' wives with him—as well as a child—rather than the more popular entrance of the animals. As a result, we have a scene from a human drama than a fanciful animal parade."
     • This illustration depicts a dramatic scene from the biblical story of Noah's Ark, showing Noah and his family entering the ark. The style is described as characteristic of Rembrandt's mature period.
  2. Bottom Illustration: Labeled "THE DEPARTURE OF REBECCA FROM HER PARENTS' HOME—in contrast with 'Noah's Ark' above, this earlier drawing is a study for a composition in the conventional, elaborately elaborate taste of the period, more theatrical in effect and staged and costumed with the oriental trappings of a courtly event. The inscription below is a note of additions made to improve the drawing in another version."
     • This illustration portrays a scene from a biblical or classical narrative, showing Rebecca departing from her parents' home. The style is noted as more theatrical and elaborate, reflecting the conventions of the period.

Additional Details:

• The page number is 30, located at the bottom left corner.
• The source is credited as The New York Times Magazine at the bottom right corner.
• The overall design is clean and formal, typical of a magazine or book publication from the early to mid-20th century.

Summary:

The page combines textual analysis with visual examples to explore Rembrandt's mastery as a draughtsman. It contrasts two styles of his work—one dramatic and human-focused (Noah's Ark) and the other more theatrical and elaborate (Rebecca's Departure)—to illustrate the breadth of his artistic skill and the philosophical depth of his drawings. The layout is educational, aiming to provide readers with an appreciation for Rembrandt's contributions to the art of drawing.

The image shows an open magazine or book page with an article and accompanying illustrations. The title of the article is "Master Draughtsman Of Them All," written by John Canaday. The page features several sketches, which appear to be historical in nature, given the attire of the people depicted in the drawings.

The top right illustration shows a group of people gathered around the entrance of a rounded structure, possibly a hut or barn. A solitary figure stands in the doorway.

Below, to the right, there's another drawing with more detailed characters that seem to be part of a narrative scene. It depicts several figures; one standing prominently in the center, while others are engaging with each other in the background.

The text on the page makes reference to the quality of the drawings and discusses aspects of the artwork, with mentions of draughtsmanship, artistic style, and possibly the historical significance of the scenes depicted. The bottom right text indicates the title of the lower illustration as "The Departure of Rebecca from Her Parents' Home."

The layout of the article suggests it is likely from a newspaper supplement, perhaps an art review or feature segment from an older publication, considering the style of the layout and typeset. It's contained within an aged-looking book or binder, contributing to the historical or archival presentation of the material.

This image is a scan of a magazine page featuring an article titled "Master Draughtsman of Them All" by John Canaday. The page discusses the artistry of Rembrandt, focusing on his exceptional skills as a draughtsman.

1. Page Layout:

   • Left Section: Features a portrait sketch labeled "SELF-PORTRAIT" with a caption commenting on its tones, which were "boldly molded."
   • The title of the article is bolded and prominent just below the image. The text of the article follows below, introducing the theme of Rembrandt's artistry.

2. Right Section:

   • Includes two reproduced artworks:
     1. Top image: A rough yet detailed sketch titled "NOAH'S ARK," depicting a scene of human and animal figures boarding the ark with minimalistic cues conveying the narrative.
     2. Bottom image: A highly detailed and ornate sketch titled "THE DEPARTURE OF REBECCA FROM HER PARENTS' HOME." It features a courtly scene with multiple figures and elaborate surroundings, reflecting the painter's mastery of compositions with depth and storytelling.

3. Footer: The credit "The New York Times Magazine" appears at the bottom-right corner of the page, identifying the source of the article.

The overall design emphasizes Rembrandt's artistic genius, presenting a textual and visual analysis of his draftsman's ability through a scholarly and journalistic perspective.

The image shows a page from The New York Times Magazine featuring an article titled "Master Draughtsman Of Them All" by John Canaday. The article discusses the drawings of the old master Rembrandt, emphasizing his skill in capturing the spiritual essence of his subjects and the philosophical depth of his work.

At the top left, there is a black-and-white self-portrait image of Rembrandt, captioned "SELF-PORTRAIT—Conscience, not vanity, made Rembrandt his own best model." The photo is credited to the collection of Louis H. Silver.

On the top right, there is a sketch titled "NOAH'S ARK," described as a broad style of Rembrandt's mature period, showing the moment in the story of the Deluge when Noah went in, accompanied by his family and animals.

Below "NOAH'S ARK," there is another drawing labeled "THE DEPARTURE OF REBECCA FROM HER PARENTS' HOME," depicting a scene from the Bible with a gathering of figures around a large horse, featuring more elaborate and theatrical elements.

The article highlights the significance and emotional impact of Rembrandt's drawings and distinguishes them from other artists' preliminary sketches or studies. The page presents the drawings as an important exhibition item from both public and private collections in the U.S. and Canada, showcasing the master's skill and depth beyond formal technique.

• The image shows a single page from a vintage magazine or scrapbook mounted in a dark album.
• The left side features a small black-and-white portrait labeled “Self-Portrait,” with a blurred face and a short caption beneath. Below the portrait is the bold title: “Master Draughtsman Of Them All,” followed by an article beginning with “By John Canaday…”
• The right side contains two large black-and-white illustrations. The top illustration appears to be a rural/streetscene with cottages or thatched buildings and figures gathered along a path; the bottom illustration shows a group of people gathered around a scene, with a caption about Rebecca departing from her parents’ home.
• There are captions under each image describing the scenes, referencing well-known works such as Noah’s Ark, in the style of Rembrandt, and a Biblical tableau of Rebecca.
• The page includes running text in a column format and ends with a note from The New York Times Magazine, visible at the bottom. The overall tone is vintage and art-critical, focusing on draftsman-ship of old masters.