B. 1629. 272, 252. B. Die Handzeichnungen Rembrandts. B. Christ before Pilate: large plate. The Flight into Egypt: A Sketch. 327, 39. Bust of an Old Man with Fur Cap and Flowing Beard: nearly full face: Eyes Direct. . Beggar with his l. Hand Extended. 69, 127. 1. B. Jacob's Ladder. 72, 199. B. 70, 295. 174, 12. THE VIRGIN AND CHILD WITH THE CAT. B. 167, 73. B. B. Only by this constant study of pieces of life was perfected the power by which his greater conceptions were realised with such unity of effect. 277, 229. (1630.) 1630. 1632. 40, 173. ... Rembrandt, with a complete list of his etchings by Rembrandt Harmenszoon van Rijn, 1606-1669; Hind, Arthur Mayger, 1880-1957. The Adoration of the Shepherds (with the Lamp). B. Rembrandt Leaning on a Stone Sill: half length. 1654. 7, 55. 1642. B. B. Sheet with Two Studies: a Tree, and the Upper Part of a Head Wearing a Velvet Cap. 349, 51. 197, 297. (1640.) 24, 30. 1636. Rembrandt undoubtedly created some of the finest etchings in the history of the medium. Rembrandt in a Fur Cap: the Dress Light: bust. B. 1631. 326, 69. B. He had a large mortgage, and spent money on art, prints, and rarities, and avoided bankruptcy in 1656 only by selling many of his paintings and his collections of antiquities. 322, 66. 64, 278. B. 53, 254. [2] B. 1630. Bust of a Young Man in a Cap. B 76. (1630.) [pg 6] But it must also be confessed that the overwhelmingly large proportion of portraits to other subjects in his painted work may be partly owing to the demands of clients. B. wearing a High Cap, three-quarters r. 1630. 284. What sacrilege! 139. Peasant with his Hands Behind his Back. 1652 B. The Descent from the Cross: by Torchlight. 365, 146. (1631.) 1639. Rembrandt's portraits of his contemporaries, self-portraits and illustrations of scenes from the Bible are regarded as his greatest creative triumphs. TITUS VAN RYN, REMBRANDT'S SON. First state, the face only lightly indicated, 168, I. REMBRANDT LEANING ON A STONE SILL. With Hubert’s death in 1970, his heirs inherited the copper etching plates and enlisted Artemis International in London and R.M. (1628) B. 47, 275. B. THE STAR OF THE KINGS: A NIGHT PIECE. 302, 40. The Roman numerals following the catalogue numbers in the underlines to the plates refer to the states of the etchings as described in the complete catalogue. (1645.) In profile r.; head only, bust added afterwards. B. ‘In etching, you can achieve a quality of line that you can’t in any other medium,’ says artist Alexander Massouras, discussing the creative process behind a remarkable group of 50 etchings by Dutch master Rembrandt Van Rijn that were offered at Christie’s in July of 2016.. 284. in Profile r; head only; bust added afterwards. A Polander standing with Stick: profile to r. (the “Little Polander”). 1659. B. Rembrandt Van Rijn (1606-1669) is a famous Dutch painter and etcher. Head of a Man in a High Cap: three-quarters r. Fourth state. 342, 155. Portrait of a Boy, in profile. B. B. This would have further benefited his painting style by flattening out his perception in order to paint it on the canvas. B. Unlike most Dutch masters of the 17th century, Rembrandt's works depict a wide range of style and subject matter, from portraits and self-portraits to landscapes, genre scenes, allegorical and historical scenes, biblical and mythological themes as well as animal studies. YOUNG MAN IN A VELVET CAP, WITH BOOKS BESIDE HIM. The French sculptor Auguste Rodin said, "Compare me with Rembrandt! * A Stout Man in a Large Cloak. Rembrandt never showed the breadth of his sympathy and his powers of observation better than in this plate, but for grandeur of conception, concentration of material, and a vigorous handling more in keeping with the scale of his subject, he attained a nobler—I think his noblest—creation in the Three Crosses (270). Printmaking. (1641.) (1631.) The Spanish Gipsy (Preciosa). (1630.) Rembrandt Bareheaded, in Sharp Light from r.; Looking over his Shoulder: bust. 57. Three Heads of Women, one Lightly Etched. THE RAISING OF LAZARUS. New York: Dover, 1994. 1638. The Flight into Egypt: a Night Piece. B. B. 186. 1652. B. B. The Rest on the Flight: lightly etched. Notes on the Art of Rembrandt. 79, 175. 223, 245. 1641. (1642.) 19 Type to subvariant path through decision tree to Foolscap with Five-pointed Collar A.a in Rembrandt’s etchings (illustration by Margaret N. Canfield (Cornell)) [side-by-side viewer]. 189. Rembrandt's Mother Seated at a Table Looking r.: three-quarter length. 25, 61. This is a part of the Wikipedia article used under the Creative Commons Attribution-Sharealike 3.0 Unported License (CC-BY-SA). The Etched Work of Rembrandt. (1639.) Christ Crucified Between the Two Thieves: an oval plate. 162, 16. The reformation in Holland seems to have helped towards the exclusion of art from the domain of religion; and the merely formal and superficial rendering of biblical stories by the classicists of the late sixteenth century may have also had much to account for the secular reaction of the succeeding period. London 1911, Six, J. Gersaint's lÿst van Rembrandts Prenten. B. 276, 291. B. Complete Catalogue of Rembrandt van Rijn's Paintings . 1658. Rembrandt with Fur Cap, in an Oval Border: bust. The artist does not push this point before the hand like the graver, but uses it in the same way as a pencil. (1657.) 1631. Burlington Magazine IX (1906), 87, 245, 313, 383, Holmes, C. J. wherever the needle has been drawn through the ground. 1641. B. (1653.) 1634. 234, 251, I. CLEMENT DE JONGHE, PRINTSELLER. 1635. The Hague 1868 (and 1877), Haden, (Sir) F. Seymour. 1639. (1644.) Here the changes are astonishingly drastic, and may have been intended to direct us to an entirely different moment in the drama of the Crucifixion. Man Standing in Oriental Costume and Plumed Fur Cap. The Descent from the Cross: a Sketch. 338: 4. Landscape with Three Gabled Cottages Beside a Road. 95: 6. Polander Leaning on a Stick: Profile l. The Complete Drawings and Etchings - image 1 Rembrandt. A PEASANT IN A HIGH CAP, STANDING LEANING ON A STICK. The Beheading of John the Baptist. 1653. B. 48, 20. Man at Desk, Wearing Cross and Chain. B. 178, 116. B. B. 179, 13. 38, 105. London 1879, Michel, E. Rembrandt, sa vie, son œuvre, et son temps. 275, 289, I. ARNOLD THOLINX. 87, 286. 189, 208. Middleton, 18, †65. Death Appearing to a Wedded Couple From An Open Grave. The Small Lion Hunt (with Two Lions). There is also conjecture by art historians that Rembrandt may have had stereo blindness, causing only one of his eyes to work. Rembrandt Drawing at a Window. Pure etching is often combined with dry-point, the latter being used to give emphasis and strength to an etching of greater uniformity of tone. 104, 270, I. (1652.) 1630. 109, 167. B. THE PRESENTATION IN THE TEMPLE: IN THE DARK MANNER. The etching is also dated just 3-0, for 1630, but it's very, very faint. Rembrandt, etching and drypoint. B. 1642. 80, 125. B. This means that you could have a Rembrandt print from the 1800s that is still worth a lot of money. A very large proportion of his early etchings are studies of seperate figures. The Circumcision (in the Stable). The Descent from the Cross: second plate. Abraham Francen, Art Dealer. The Presentation in the Temple (with the Angel): small plate. Etchings were popular in the 17 th century. B. London 1894 (and 1904, with catalogue by C. Dodgson), Bode, W., and Groot, C. H. de. 185. B. B. (1652.) B. Woman Bathing Her Feet at a Brook. 219, 215. B. 1630. 1631. B. B. Dutuit, E. Paris 1881-4 (with a complete series of reproductions in heliogravure); Manuel de l'Amateur V (1882), and VI (1885). Abraham Caressing Isaac. 21 drawings with Rembrandt’s signature of which his authorship is accepted 3 drawings with signatures that might be authentic but the drawing itself not by the hand of the master 2 etchings reworked by hand and signed by Rembrandt. 1630. B. (1631.) Six etchings by Rembrandt will be displayed at the Ulster Museum from Friday. Rembrandt's Wife Saskia, with Pearls in her Hair, bust. Rembrandt utilized dramatic lighting and was a master of chiaroscuro, or the use of strong contrasts between light and dark. (1645.) 1635. 33, 149. 1652. 194, 223. * Aged Man of Letters. 84, 216. 1635. 207. 1658. In 1634 he married his wife, Saskia van Uylenberg, and in the same year began taking art students in Amsterdam. 1634. 9, 36. Rembrandt in a Heavy Fur Cap: full face: bust. 22, 230. Later he tends to a greater breadth of treatment in line, and a less imitative treatment of physical form. Seated Beggar and his Dog. 1631. Head of a Man in a Fur Cup, Crying Out. Haarlem 1906, Hamann, R. Rembrandt's Radierungen. Clump of Trees with a Vista. Christ Preaching (“la Petite Tombe”). B. B. (1653.) B. 183, 78. (1635.) 1655. The Presentation in the Temple: in the Dark Manner. The Flight into Egypt: altered from Tobias and the Angel by Hercules Seghers. St. Jerome Playing: Arched Print. 370, 231. Jan Asselyn, Painter. B. 142. 60, 279. Introduction and catalogue.--II. Rovinski, D. St. Petersburg 1890 (with atlas of reproductions covering all the etchings in practically every state), Rovinski, D. Les Élèves de Rembrandt. B. 1654. 226, 180. 1650. Christ Seated Disputing with the Doctors. 276. 1630. (1652.) (1631.) In these early self-portraits Rembrandt was practising portraying facial expressions. B. (1635-7.) His wife Saskia had their first child, a boy, in 1635, but he died at two months of age. Rembrandt van Rijn (1696-1669), La circoncision dans l’étable, 1654 Etching on watermarked paper. THE QUACKSALVER. 196. Four Illustrations to a Spanish Book. 274, 288. 81, II, etc. 1661. B. 1665. Jan Cornells Sylvius, Preacher: posthumous portrait. B. Canal with an Angler and Two Swans. Old Beggar Woman with a Gourd. B. The “Bs” on T.M.’s little Rembrandt reproductions refer to Bartsch’s work, consisting of 18 years of research in 21 huge volumes called Le Peintre Graveur (1821). 57, 212. B. 129. (1631.) He pulled all sorts of faces in front of a mirror and recorded what he saw on an etching plate. (1631.) B. 76. B. Oud-Holland XXVII (1909), 65. (1630.) (1629.) 236, 240. B. Rembrandt's Mother in Widow's Dress and Black Gloves. 283, 300*. 263, 54. The Agony in the Garden. Explore. Old Man Seated, with Flowing Beard, Fur Cap and Velvet Cloak. In his etched work we find that portraits are much less numerous, and by far the largest place is given to the subjects from scripture, treated with the same reality that characterises his sketches from daily life. Bearded Man (Rembrandt's Father?) 1651. Yet his etchings and paintings were popular throughout his lifetime, his reputation as an artist remained high, and for twenty years he taught many important Dutch painters. Medea: or the Marriage of Jason and Creusa. B. Christ and the Woman of Samaria: among Ruins. The Sleeping Herdsman. B. In 1993, Rembrandt’s copper etching plates were sold to museums throughout the world and a select number of art dealers. 164, 20, I. CHRIST DISPUTING WITH THE DOCTORS: SMALL PLATE. 10, 31. Rembrandt remains for us the greatest etcher who has ever lived, as well as one of the noblest exponents in art of the deepest and most generous emotions of life. B. Rembrandt Bareheaded, with High Curly Hair: Head and Bust. 1648. 77, 144. 1635. 1642. 1650. Due to Rembrandt’s practice of having his students copy his own work, and many stylistic evolutions and style experiments done by the artist, as well as bad restorations of his works, the attribution of Rembrandt’s works is very difficult. 1, 34. REMBRANDT'S WIFE, SASKIA, WITH PEARLS IN HER HAIR. 1, p. 3-10 I. Cottages beside a Canal: with a Church and Sailing Boat. Rembrandt Wearing a Soft Cap: full face: head only. 1641. B. B. 78. (1635.) Rembrandt's affection for scriptural subjects is a striking fact in face of the general character of Dutch art in the seventeenth century. Many art historians disagree as to whether or not many of his works are true Rembrants. Nevertheless as works for the most part uncommissioned and less lucrative than the paintings, we may take it that the etchings are a true reflection of the actual tendency of Rembrandt's genius when least affected by demands from outside. Bust of an Old Man Looking Down, with Wavy Hair and Beard: cap added afterwards. 83. B. 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