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.
state of five. Signed and dated Rembrandt f. 1648. Haarlem. Served as an illustration to the printed version of Jan Six’s play Medea, published in 1648. This is the state in which the signature and verses appear. B 113 The star of the kings: a night piece. Only state. Haarlem. About 1651. The subject shows how Dutch children celebrated the feast of Epiphany in the 17th century. B 114 The large lion hunt. Second state of two. Signed and dated Rembrandt f. 1641. Paris, Rothschild
limited to drypoint and burin, while some plates were made with these techniques only, and no etching at all. State of impression reproduced, and total number of states: the numbering of states follows in all but a few cases that of Christopher White and Karel G. Boon, Rembrandt’s etchings, Amsterdam etc. 1969. Signature and dating inscribed in the plate, if any: no attempt has been made to reproduce the actual form or punctuation of the inscriptions. The monogram RHL usually looks like an R
at the Latin school, preparing him for classical studies. Later in the year he apparently left the university to study painting with Jacob van Swanenburgh, a Leiden painter of hell scenes. 1624 Rembrandt completes his formal training as a painter with the Amsterdam history painter Pieter Lastman and returns to Leiden. 1625 The first dated painting, The stoning of St. Stephen. 1626 The first etchings-The rest on the flight into Egypt (B 59) and The circumcision (s
enthusiastic report on Rembrandt in his autobiographical sketch. Rembrandt was not yet in the habit of signing and dating his etchings, and although there is only one plate dated 1629, scholars have assigned 15 more to that year. The dated etching is a self portrait. The first painted self portrait to bear a date (Munich) is also from 1629. B 338 Self portrait bare-headed: bust, roughly etched 1630 Rembrandt’s father dies and is buried in Leiden. Somewhat neglecting his painting, the
etching. Published by Willm Faithorne and sold at his shop next to ye signe of ye Drake, without Temple Barr. 1662. The illustrations, from the Dutch edition, also of 1662, are copied from Bosse’s. Of soft varnish. How to make it, and the uses it is to be put to Take an ounce and a half of virgins wax, the best and whitest; one ounce of Mastick in tears, neat and pure, half an ounce of Spaltum [asphalt varnish] severally very fine; then melt your Virgins wax in an earthen pot well leaded,