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Quote by Isabel Belmonte

“Quien quiera hacer de Rembrandt un pensador, un rebelde enfrentado a su época, al encontrarse ante estas obras maestras deberá admitir que la verdad más convincente para definirlo es la furia creadora, una necesidad constante e irreprimible de representar con toda libertad y de consumir la vida en esta obsesión liberadora.”

Quote by Isabel Belmonte

Book:Rembrandt
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Rembrandt

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Isabel Belmonte

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“Since my visit to the Hermitage, I had become more aware of the four figures, two women and two men, who stood around the luminous space where the father welcomed his returning son. Their way of looking leaves you wondering how they think or feel about what they are watching. These bystanders, or observers, allow for all sorts of interpretations. As I reflect on my own journey, I become more and more aware of how long I have played the role of observer. For years I had instructed students on the different aspects of the spiritual life, trying to help them see the importance of living it. But had I, myself, really ever dared to step into the center, kneel down, and let myself be held by a forgiving God? The simple fact of being able to express an opinion, to set up an argument, to defend a position, and to clarify a vision has given me, and gives me still, a sense of control. And, generally, I feel much safer in experiencing a sense of control over an undefinable situation than in taking the risk of letting that situation control me. Certainly there were many hours of prayer, many days and months of retreat, and countless conversations with spiritual directors, but I had never fully given up the role of bystander. Even though there has been in me a lifelong desire to be an insider looking out, I nevertheless kept choosing over and over again the position of the outsider looking in. Sometimes this looking-in was a curious looking-in, sometimes a jealous looking-in, sometimes an anxious looking-in, and, once in a while, even a loving looking-in. But giving up the somewhat safe position of the critical observer seemed like a great leap into totally unknown territory. I so much wanted to keep some control over my spiritual journey, to be able to predict at least a part of the outcome, that relinquishing the security of the observer for the vulnerability of the returning son seemed close to impossible. Teaching students, passing on the many explanations given over the centuries to the words and actions of Jesus, and showing them the many spiritual journeys that people have chosen in the past seemed very much like taking the position of one of the four figures surrounding the divine embrace. The two women standing behind the father at different distances the seated man staring into space and looking at no one in particular, and the tall man standing erect and looking critically at the event on the platform in front of him--they all represent different ways of not getting involved. There is indifference, curiosity, daydreaming, and attentive observation; there is staring, gazing, watching, and looking; there is standing in the background, leaning against an arch, sitting with arms crossed, and standing with hands gripping each other. Every one of these inner and outward postures are all too familiar with me. Some are more comfortable than others, but all of them are ways of not getting directly involved," (pp. 12-13).”

ControlOutsiderProdigal SonObserverRembrandt
Book:The Return of the Prodigal Son: A Story of Homecoming
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“In a conservative courtly culture an artist of his (Rembrandt's) kind would perhaps never made a name for himself at all, but, once recognized, he would probably have been able to hold his own better than in liberal middle-class Holland, where he was allowed to develop in freedom, but which broke him when he refused to submit any longer. The spiritual existence of the artist is always in danger; neither an authoritarian nor a liberal order of society is entirely free from peril for him; the one gives him less freedom, the other less security. There are artists who feel safe only when they are free, but there are also such as can breathe freely only when they are secure. The seventeenth century was, at any rate, one of the period furthest removed from the ideal of synthesis of freedom and security.”

ArtistFreedomSecurityBaroqueRembrandt
Book:The Social History of Art: Volume 2: Renaissance, Mannerism, Baroque
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“By painting himself into the boat in The Storm on the Sea of Galilee, Rembrandt wants us to know that he believes his life will either be lost in a sea of chaos or preserved by the Son of God. Those are his only two options. And by peering through the storm and out of the frame to us, he asks if we are not in the same boat.”

Rembrandt
Book:Rembrandt is in the Wind: Learning to Love Art through the Eyes of Faith
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“Wat is een Nederlander? Wie zich als Nederlander identificeert, onderscheidt zich in taal, kleding of eetgewoonten van de Belgen, de Duitsers, de Engelsen enzovoort. De verschillen met andere naties bakenen het 'wezen' van de Nederlander af. Nationaliteit wordt gedefinieerd door een 'buitengrens'. Maar Nederland kent ook een 'binnengrens', want welke Nederlander is de ware Nederlander? Erasmus? Rembrandt? Drees? Beatrix? Cruijff? De vacature is door de eeuwen heen door steeds andere personen en groepen vervuld. Zijn het de arbeiders die het land hebben opgebouwd? De middenstanders als motor van de economie? Is het de dominee-koopman? De ware Nederlander verandert voortdurend van gezicht.”

RembrandtErasmusBeatrixCruijffNederlander
Author:Matthijs van Boxsel
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