327, 39. Even in his own time, Rembrandt was a well-known artist whose prints were in demand. In European art, he is considered as one of the greatest painters and also the most important in Dutch history. (1635.) B. The Beheading of John the Baptist. First state, the body being merely indicated in ink, 236, I. CHRIST, WITH THE SICK AROUND HIM, RECEIVING LITTLE CHILDREN (The “Hundred Guilder Print”). 164. B. 288, 134. 91, 151, II. Christ Between His Parents, Returning from the Temple. Conjectural dates are cited within brackets. 1639. 174, 12. 1638. B. 1630. (1656.) B. Jacob's Ladder. Like many artists of the Dutch Golden Age, such as Jan Vermeer of Delft, Rembrandt was also known as an avid art collector and dealer. Rembrandt undoubtedly created some of the finest etchings in the history of the medium. B. The Hague 1906. It is perhaps still not superfluous to emphasise the fact that the etchings of Rembrandt (as of nearly all the painter-engravers or etchers) are original works distinct in methods and aims from the paintings or works in any other medium. Grotesque Profile: Man in High Cap. 1646. The Fourth Oriental Head. 183, 78. 1637. B. B. 27, 4. Rembrandt never went abroad, but he was considerably influenced by the work of the Italian masters and Netherlandish artists who had studied in Italy, like Pieter Lastman, the Utrecht Caravaggists, and Flemish Baroque Peter Paul Rubens. 347, 114. Two Beggars Tramping towards the r. B. 340, 128. 1641. Rembrandt Harmensz van Ryn, son of Harmen Gerritsz van Ryn, miller (d. 1630), and Neeltge Willemsdochter (d. 1640), daughter of a baker of Zuytbroeck; born at Leyden, July 15, 1606; entered Leyden University as a student of letters, May 20, 1620, but left before the end of the year; studied painting for about three years in his native town under Jacob Isaaksz van Swanenburgh, and at the age of seventeen for about six months under Pieter Lastman in Amsterdam; settled in Leyden from 1624 until 1631, removing with his sister Lysbeth to Amsterdam in the latter half of 1631; married Saskia van Ulenburch, June 1634; from 1639 to 1658 lived in the Breestraat (in the house which is now open to the public); lost his wife in 1642; from about 1652 Hendrikje Stoffels, who had been his servant, lived with him as his wife, until her death about 1664; Rembrandt's material success as a painter was counterbalanced by his zeal for collecting works of art, and in 1656 he was forced by his creditors to declare bankrupt; an inventory of the contents of his house, made in view of the sales which took place in 1657 and 1658, is still preserved; the last part of his life was spent in a lodging on the Rozengracht, and all the money that he earned went to his creditors whom he never satisfied; he died and was buried in the Westerkerk, Amsterdam, October 4, 1669. (1631.) 8, 56. (1642.) Studies from the Nude: One Man Seated and Another Standing: with a Woman and Baby lightly etched in the background. B. The Complete Work of Rembrandt (reproduced in photogravure). 217, 249. B. Clement de Jonghe, Printseller. Study from the Nude: Man Seated Before a Curtain. 164, 20, I. CHRIST DISPUTING WITH THE DOCTORS: SMALL PLATE. 299, 136. (1631.) B. (1631.) 112, 236. 312, 50. The Angel Departing from the Family of Tobias. Using only a metal plate and an etcherâs tool, Rembrandt takes his â¦ B. B. Bust of a Beardless Man (Rembrandt's Father?) Unfinished state. The two earlier states show the tower surmounted by a. cupola, which was burnished out to increase the concentration of the subject, 249. But the more delicate the etching and the closer the mesh of line, the sooner will deterioration of quality set in, so that a glance at the character of an etching, granting that the plate was not destroyed after a very limited issue, will almost immediately reveal one important point, i.e. * Aged Man of Letters. (1645.) Bust of a Bald Man (Rembrandt's Father?) But Rembrandt had no need to seek new ground to escape from a formal rendering of well-known themes. 202, A CHRONOLOGICAL LIST OF REMBRANDT'S ETCHINGS, 23, I. BALD-HEADED MAN (REMBRANDT'S FATHER?) B. Woman at a Door-hatch Talking to a Man and Children (the “Schoolmaster”). B. (1648.) Landscape with a Road Beside a Canal. Sheet of Studies of Men's Heads (the plate afterwards cut into five parts). Rembrandt Wearing a Soft Cap: full face: head only. 1631. 306, †137. The Flight into Egypt: small plate. 289, †l35. (1637.) He began taking art students at his studio at the ripe old age of twenty-one years old. B. This is a part of the Wikipedia article used under the Creative Commons Attribution-Sharealike 3.0 Unported License (CC-BY-SA). SICK WOMAN WITH LARGE WHITE HEAD-DRESS (SASKIA). 213, 244, III. 221, 265. 47, 275. 37, 161. 151, 15. B. (1641.) 54, VI. 23. 367. (1631.) Rembrandt's Mother Seated at a Table Looking r.: three-quarter length. Beggar with a Wooden Leg. 87. B. 104, 268. London 1894 (and 1904, with catalogue by C. Dodgson), Bode, W., and Groot, C. H. de. (1657.) 66, 21. (1640.) Beggar Seated on a Bank. 1647. 12, †60. 281, I. B. 104, 270, I. 2. 280, 226. First state, the face only lightly indicated, 168, I. REMBRANDT LEANING ON A STONE SILL. B. Rembrandt's Mother: Head only, full face. In profile r.; head only, bust added afterwards. 276, 291. 264, 269. Landscape with Sportsman and Dogs. 1634. B. B. 369, 164. 80, 125. Rembrandt. Old Bearded Man in a High Fur Cap, with Closed Eyes. 167, 73. 84, 216. 66, 23, I. BALD-HEADED MAN (REMBRANDT'S FATHER?) (1653.) (1631.) 63. THE LITTLE POLANDER. 130, 192. B. 172, 17. Rembrandt made an extraordinary series of 32 self-portrait etchings. (1646.) (1630.) Joseph and Potiphar's Wife. (1631.) The Star of the Kings: a Night Piece. 7, 55. 51, 19. A Turbaned Soldier on Horseback. B. B. 1630. #Rembrandt #Drawings. THE ARTIST DRAWING FROM A MODEL, (1648, or later?) 223, 245. B. 1, p. 3-10 I. 186. (1649.) (1638.) (1652.) 1650. The Phrenix; or the Statue Overthrown: an Allegory of Doubtful Meaning. There is so much conjecture that there may never be a consensus. 134, 77. Versuch eines beschreibenden und kritischen Katalogs. 259, 170. Both his paintings and etching were popular throughout his lifetime even though at his later year he experienced lots of personal tragedy and financial hardship. 178, 116. 3. Bald-headed Man (Rembrandt's Father?) 276. The Triumph of Mordecai. B. B. So that rich impressions from dry-points are infinitely rarer than good ones from the pure etchings, which often yield hundreds of prints without greatly deteriorating in quality. Peter and John Healing the Cripple at the Gate of the Temple. The list offers wide opportunity for the responsible attribution to Rembrandt of comparable drawings that are not directly related to known paintings and etchings. B. * Two Studies of Beggars. 1641. B. 1628. ), three-quarter length; etching, signed and dated 1630 within the plate, possibly the third state, 10.3x8.5cm Literature: Karel Boon, Rembrandt, The Complete Etchings, pl. 196. B. 1653. When complete, this online catalogue will comprise more than 300 paintings divided into 6 sections: history paintings, landscapes and animals, self portraits, portraits of family members, genre scenes and portraits. They appealed to him as the vehicle of the noblest thoughts of man in relation to himself and God, and he was practically the first artist who dared approach the Scriptures in the spirit of reality that implied a living faith rather than an official creed. 1639. (1630.) 116: 7. 1655. Christ Crucified between the Two Thieves: large oblong plate (the “Three Crosses”). Christ Disputing with the Doctors: small plate. B. Download The Etchings of Rembrandt Books now!Available in PDF, EPUB, Mobi Format. Rembrandt with Raised Sabre: half-length. 60, 279. 1630. Artist Index
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N - O - P - Q - R - S - T - U - V - W - X - Y - Z. 232, 206. 163;. B. 314, †88. But while the former and so many of his contemporaries were content with their own facility and the convention they had reached, Rembrandt never remitted the ardour of the great quest which was the very blood of his life. B. 1661. 135, †70. We should prostrate ourselves before Rembrandt and never compare anyone with him!" In spite of his thoroughly Dutch temperament, Rembrandt had learnt much from the Italians, and in nothing more than in space composition. Rembrandt Bareheaded, with Thick Curling Hair and Small White Collar: bust. Beggar Standing Leaning on a Stick l.: small plate. B. 1652. 302, 40. Bald Old Man with a Short Beard, in profile r. Later he tends to a greater breadth of treatment in line, and a less imitative treatment of physical form. 1630. 153, 75. 234, 251, I. CLEMENT DE JONGHE, PRINTSELLER. 349, 51. Peter and John at the Gate of the Temple: Roughly Etched. The Agony in the Garden. 2. With Rembrandt, the colossus of Art! B. 15, †64. = Bartsch. The plate is then put in a bath of acid which bites the furrows in the unprotected parts of the plate, i.e. B. 1634. 1641. 1654. 1655. 1645. In his early period up till about 1640, Rembrandt's etching is characterised by a clear lineal manner with little tendency to the [pg 8] chiaroscuro which gradually became the characteristic feature of his artistic style in etching as well as in painting. Rembrandt prints were reproduced from his original etching plates well after Rembrandtâs death. Rembrandt and his Wife Saskia: busts. 76, 273. 73, 98. 373, 118. Woman in Spectacles, Reading. (1631.) 1640. From 1626 to 1660 he owned a printing press where he produced these etchings on demand. 0635.) 40, 173. B. 1661. 261. His self-portraits form a unique and intimate biography, in which the artist surveyed himself without vanity and with the utmost sincerity. Medea: or the Marriage of Jason and Creusa. B. 1637. (1631.) Etchings were popular in the 17 th century. 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. the comparative rarity of good impressions. Small Grey Landscape: A House and Trees Beside a Pool. Except for an occasional plate like the Clement de Jonghe (251) with its open line after the manner of Van Dyck, Rembrandt kept to the method of close painter-like shading throughout the latter part of his life, but in his subject prints he almost entirely discarded this method of chiaroscuro for a more luminous and mysterious shadow effected by the surface tinting of a more broadly etched plate. 1635. (1628.) 1634. 147. 7. 46, 256. B. B. 270, IV. 58, 218. Studies of the Head of Saskia and others. B. The Small Lion Hunt (with one Lion). 40), and 196 (on same plate as No. Fig. The Raising of Lazarus: the larger Plate. Landscape with a Cottage and a Large Tree. B. 1656. B. 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