While we’re on the subject of art and masterpieces (see Thriller post, below), you might like this piece from Humanities, the magazine of the National Endowment for the Humanities: “Introducing Children to Masterpieces.”  This is my favorite paragraph:

It would have been easy for Rembrandt to depict the growing prosperity of the Dutch Republic during the seventeenth century. A number of Dutch painters of the time made a handsome living doing so. But he refused to limit his interest to those who could pay for his services. While many Dutch towns became the envy of Europe for their efficient removal of beggars and other indigents from central areas, Rembrandt extended his artistic sympathy to people who pled for scraps and the spare coins of the well-to-do. Those who lived on the fringes of society were not without dignity and were worthy of inclusion in art.

Now, this isn’t really what the Humanities article is about, but it reminds me: Rembrandt was a believer.  His faith and belief in the incarnation and value of the physical body and dignity of humankind were elemental in his painting.  He painted real people doing real things in a real world, and he painted himself crucifying Christ.  This might come off as kitsch nowadays, but it sure don’t look like it from here.