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In exchange, the Sixes are to provide limited public access to the collection. Six can talk about Rembrandt endlessly, absorbingly and with great feeling. The Dutch Golden Age marked a turn away from strictly religious subjects; suddenly people were interested in ordinary life and in themselves, and artists followed suit.
Portrait painting became an industry. But Rembrandt went one better than his contemporaries. Many of them could paint what you looked like. What made Rembrandt so special to the citizens of Amsterdam, who lined up to commission him to paint their portraits, was that he seemed to be able to go beneath the surface, to get at who you were. Early on, he became the most celebrated painter of the day, but he refused to follow shifting fashions and fell from favor. He overspent, going heavily into debt.
Then he went bankrupt. He seems to have lived his last years in a misery of his own making. If the Dutch Golden Age evinced a newly intimate focus on the individual, Rembrandt applied the dictum to himself ruthlessly. His self-portraits, especially the later ones, are pitilessly honest explorations of the psychic toll we inflict on ourselves.
See the brush strokes? He started here and slowly moves to the right and makes a curve. He adds these broad strokes. He cleverly uses the way light actually shines on material. Slowly it recedes into shadow. He turned off the lights and lit candles, and in an instant the paintings were transformed. They took on new energy; the golds and reds and flesh tones became warmer. The flicker of the flames seemed to breathe life into the two-dimensional figures.
Six was helping me to experience the world of 17th-century Amsterdammers in the most tangible way: the minute differences in ways of seeing and feeling that separate one historical epoch from another.
But I came to realize that he was also giving me an insight into something else: his lifelong struggle with his family over what it expected of him as heir to the Six Collection. Where previous heirs — who were avid collectors, though not art professionals — seem to have accepted the responsibility with equanimity, Six pushed it away. He hated high school, got a job as a cook in a restaurant and thought for a time that becoming a chef might be his route of rebellion.
When his parents were away, he would host parties in the mansion. Sometimes we set off the alarms. It was these ordinary folk who made Six realize that art was his calling.
Then I saw how happy and interested the people were. Some of the visitors knew a lot about art, and I listened to them. They went from being flat representations of dead people to aesthetic expressions serving as portals into history.
He was good at the job and moved easily in the world of international wealth and culture. Over time, it seemed, a family gene kicked in. Geert Mak, a Dutch author who wrote a history of the Six family, told me that some of the earlier Jan Sixes had an extraordinarily acute visual sense, which guided them as they amassed their collection. A series of clashes with his father ensued, many of them about providing greater public access, which has always been a difficulty.
Currently, tours of the collection, which are by appointment only, are booked into next year. The picture that the younger Six sketched was of an inward-looking father who is trying to preserve a legacy by keeping the world at bay, who comes to realize over time that he also has to do battle with a gregarious and extroverted son who feels that the way to preserve that legacy is precisely by sharing it with the wider world. This was the other point of the candlelight demonstration Six gave me.
Take away the noise, and beauty will emerge. The younger Six told me he believed his father feels his duty is to the collection, including the way his ancestors preserved it.
Whereas he himself feels an obligation to the art. So the house and the collection have nothing to do with me. But in a digital, now-oriented time, in which there is a steady shift in the global balance of power last year China became the second-largest art market in the world, behind the United States , European old masters have come to seem In , 85 percent of the ARTnews list of top collectors said they collected contemporary art in one form or another; only 6 percent said they collected old masters.
And while the top names — Rembrandt, Titian, Raphael — still command top dollar, everything else has dropped in value.
Seascapes, Flemish still lives: Many of these have diminished in value. Duparc said that in the Netherlands there is exactly one professor fully devoted to the field of Golden Age Dutch art. Matthew Teitelbaum, the director of the Museum of Fine Arts in Boston, says that a new Center for Netherlandish Art that his institution is developing will aim to counter this trend.
Despite this inhospitable landscape, Jan Six decided in to set himself up as an independent dealer in Dutch old masters, with a particular specialty in portraits. Six flourished as a dealer. He spent the next several years shuttling among New York, London, Paris and Amsterdam, downloading and selling, developing trust and an ever-more-discerning eye.
He became versed in the high-tech methods for analyzing paintings, which can yield details about canvas, wood and pigment that can offer insight into a work and its creator. He did well as a dealer — a Govert Flinck here, a Gerrit van Honthorst there — but he felt he was biding his time.
What mattered to him was Rembrandt. Six worked doggedly to make himself an expert. Petersburg, Russia he has seen 80 percent of them so far , and he amassed an archive of tens of thousands of documents and images related to the artist.
When we first spoke about the portrait he discovered, he made it clear what finding it meant to him.