Works
In 1801, Rembrandt painted a portrait of his brother Rubens, youngest of the six Peale children, who always had an admiration for gardening and tending to natural life. Rembrandt seated his brother next to a geranium. The painting signifies the artist’s admiration for a sibling’s love of nature, and may have been inspired by the Dutch 17th century artist, David Teniers the Younger, who had painted a series of oil-on-copper paintings representing the five senses. His painting, "Smell" is quite similar to Rembrandt Peale’s. Rembrandt's piece captures the essence of a young gardener/artist’s peace of mind, gracefully looking out, a posture of wonder and calmness.
In 1824 Peale painted the Patriæ Pater, in which a rectangle supporting an oval wreath surrounds the eye-catching image of George Washington. The most successful painting of Peale's 50-year career, it inspired John Marshall to have his portrait done by Peale in the same fashion. The painting was criticized as lacking authenticity, as it was not completed until after Washington's death (1799). Nonetheless, Peale received commendations for his portrait by many noted politicians such as Washington’s nephew, Judge Bushrod Washington, who was an associate U.S. Supreme Court Justice, and Marshall.
Peale's neoclassical painting The Roman Daughter depicts a young girl shielding her father, a prisoner in chains, and feeding him from her breast. This piece demonstrates compassion and graceful defense; his copy of Correggio's Angel, and his immense allegorical painting, Court of Death (1820), reveal the same artistic style.
Read more about this topic: Rembrandt Peale, Biography
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Famous quotes containing the word works:
“Men seem anxious to accomplish an orderly retreat through the centuries, earnestly rebuilding the works behind them, as they are battered down by the encroachments of time; but while they loiter, they and their works both fall prey to the arch enemy.”
—Henry David Thoreau (1817–1862)
“Only the more uncompromising of the mystics still seek for knowledge in a silent land of absolute intuition, where the intellect finally lays down its conceptual tools, and rests from its pragmatic labors, while its works do not follow it, but are simply forgotten, and are as if they never had been.”
—Josiah Royce (1855–1916)
“Night and Day ‘ve been tampered with,
Every quality and pith
Surcharged and sultry with a power
That works its will on age and hour.”
—Ralph Waldo Emerson (1803–1882)