The Complete Etchings of Rembrandt: Reproduced in Original Size (Dover Fine Art, History of Art)
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Rembrandt is revered not only as a painter, but as a supreme master of drawing and etching as well. His work in etching spanned most of his career and embraced the wide range of subjects he pursued in his painting: portraits, landscapes, biblical scenes, pictures with allegorical and mythological themes, and more. This comprehensive collection contains Rembrandt's complete etchings — over 300 works — shown in their original size. They have been reproduced directly from a rare collection famed for its pristine condition, fresh, clean impressions, rich contrasts, and brilliant printing.
Among the etchings included are: Self portrait drawing at a window (1648); Abraham's sacrifice (1655); Christ preaching ["The undered-guilder print"] (ca. 1643–49); Christ crucified between the two thieves ["The three crosses"] (1653); The return of the prodigal son (1636); The three trees (1643); Faust (ca. 1652); Jan Six (1647); The great Jewish bride (1635); The strolling musicians (ca. 1635).
The etchings are reproduced in their actual size rather than from reduced photographs, which can depart significantly in quality from the originals. Fourteen oversize etchings, reproduced in reduction inside the book, are also included at full size on three sheets placed in a pocket at the back of the book.
This handsome volume is filled with information critical to fully appreciating the extraordinary images it contains. Detailed captions point out features of special interest and provide vital information such as title, signature, date, collection, Bartsch number, state of impression reproduced, and total number of states. Also included are a chronology of Rembrandt's life and etchings, a discussion of the technique of etching in his time, and an excellent bibliography. Art lovers, scholars, students of etching, and anyone with an interest in Rembrandt and his work will find in this beautiful book a rare and exciting visual experience.
dated about 25 years earlier. B 12 Self portrait in a fur cap, in an oval border: bust. Only state. Amsterdam. About 1629. One of four surviving impressions, two of which are on larger paper than this one. B 13 Self portrait open-mouthed, as if shouting: bust. Second state of three. Signed and dated RHL 1630. Amsterdam. The diagonal scratch in the upper right was removed in the third state. B 15 Self portrait in a cloak with a falling collar: bust. Second state of five. Signed
The decline in Rembrandt’s painting production is matched by a drop in the number of etchings. The vast Christ before Pilate, begun in 1633, is completed at a moment when the artist’s etching style has already grown away from it. The work is related in concept to the paintings of the Passion of Christ Rembrandt was making for the stadholder. B 19 Self portrait with Saskia B 77 Christ before Pilate: larger plate. Rembrandt f. 1636 cum privile B 91 The return of the prodigal son B 269 Samuel
wife–twice, perhaps under the pressure of his approaching insolvency. B 35 Abraham’s sacrifice B 36 Four illustrations to a Spanish book B 76 Christ presented to the people: the oblong plate B 123 The goldsmith B 275 Pieter Haaringh 1656 Rembrandt applies for and is granted an arrangement whereby the courts disposed of his goods for the benefit of his creditors. His goods are inventoried. B 29 Abraham entertaining the angels B 89 Christ appearing to the apostles B 276 Jan Lutma,
best for graveing with a Graver, or Aqua fortis; Brasse is too brittle. That Copper is best which is free from flawe, and not too hard, which you may perceive by its yellowish colour, almost like brasse; if it be too soft, you may perceiv it by its too much pliableness in bending. When you are to make use of it, you shall perceive (in that which is good) a firm, yet easie force in the entring of the graver: and that Copper which is best for graveing, is also best for etching. Those Plates which
Rembrandt’s surviving preparatory drawings, only three show signs of having been traced over. In most cases he seems to have worked directly in the ground, probably with a preparatory drawing in front of him. [The next step was to incise the drawing into the ground with the needle. At this point it would often occur that the needle would inadvertently scratch the plate and produce an unintended burr. The softness of the soft ground can be guessed from Bosse’s warning to etchers working in this