Artistic canons are naturally constructed rather than socially constructed entities. They are not born overnight by revolutionary methods and are frequently subjected to criticisms by exponents of postmodernism, post-structuralism, multiculturalism and feminism. The artist de-personifies in his work a part of himself and it is this high craft of de-personification that separates Rembrandt from other Old Masters. Rembrandt’s life and art converged to create mythic resonance for generations of French art critics. The ideas presented in nineteenth-century texts on Dutch art evolved in part from the precedent of eighteenth century writings by Jean-Baptiste Descamps and Jean-Baptiste-Pierre-Lebrun, who published the first significant French studies devoted solely to Flemish and Dutch art. Lebrun in particular identified Dutch art as a democratic rather than aristocratic pursuit as early as 1795 when he addressed a popular revolutionary society. His characterization of Dutch art as dem