list of rembrandt etchings

1631. Oil on canvas; 118.8 x 96.8 cm. Peasant Family on the Tramp. (1630.) 343. B. * Beggar Man and Beggar Woman. B. 1665. 1653. B. Christ Disputing with the Doctors: a sketch. 1639. Cottages beside a Canal: with a Church and Sailing Boat. B. ), Scowling, in an Octagon: head only. 306, †137. B. B. 54, VI. 77, 144. B. Landscape with a Cow Drinking. 56, B.321 ;I. Man Drawing from a Cast. (1630.) Four Illustrations to a Spanish Book. Rembrandt in a Cloak with Falling Collar: bust. 76. Beggar Seated Warming his Hands at a Chafing Dish. Christ, with the Sick Around Him, receiving Little Children (the “Hundred Guilder Print”). 292, 24. B. 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. 289, †l35. Jun 27, 2020 - Explore Leisa Corbett, Painter's board "Rembrandt & His Apprentices", followed by 3172 people on Pinterest. Introduction and catalogue.--II. B. In European art, he is considered as one of the greatest painters and also the most important in Dutch history. 1652. 52, III. Sheet with Two Studies: a Tree, and the Upper Part of a Head Wearing a Velvet Cap. 175, 75. 1650. B. THE DEATH OF THE VIRGIN. The Hague 1868 (and 1877), Haden, (Sir) F. Seymour. 7, 55. 154, 78. 200, 300. B. Old Man Seated, with Flowing Beard, Fur Cap and Velvet Cloak. 92, 172. 1634. 1648. Studies of the Head of Saskia and others. 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. First state, the face only lightly indicated, 168, I. REMBRANDT LEANING ON A STONE SILL. The Adoration of the Shepherds (with the Lamp). Rembrandt and his Wife, Saskia, 1636, B. First state, the body being merely indicated in ink, 236, I. CHRIST, WITH THE SICK AROUND HIM, RECEIVING LITTLE CHILDREN (The “Hundred Guilder Print”). (1634.) Sheet of Studies, with a Wood and Paling, Part of Two Heads, and a Horse and Cart. (1631.) 83. B. B. B. 8 of Bode), Groot, C. H. de. Rembrandt. 30, 150. 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. 1636. * Two Studies of Beggars. (1647.) B. 23. Christ Crucified between the Two Thieves: large oblong plate (the “Three Crosses”). B. B. Fifth state, all the foreground figures in front of the tribune erased, concentrating the subject on the central figure, 275, I. 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. 1631. B. 202, A CHRONOLOGICAL LIST OF REMBRANDT'S ETCHINGS, 23, I. BALD-HEADED MAN (REMBRANDT'S FATHER?) 279, 129. 14, 63. 95, 6. 1636. 1635. B. Later state, the body added. Landscape with a Cottage and Hay Barn: oblong. Bust of an Old Woman in Furred Cloak and Heavy Headdress. 1630. 42, 253. B. At first his experiments in chiaroscuro were produced by the close mesh of etched lines, but it must be confessed that etching as such rather loses its character when the line is so entirely lost in tone. 1652. 1634. (1652.) Christ Between His Parents, Returning from the Temple. 99, 162. B. (1630.) A very large proportion of his early etchings are studies of seperate figures. (1634.) 169, †82. 1650. 294, 25. Rembrandt with a Jewel in his Cap. 25, 61. First state, with one head (portrait of Saskia) only, 161, I. B. This would have further benefited his painting style by flattening out his perception in order to paint it on the canvas. The real quality of dry-point may be better studied in some of the lightly sketched lines in the foreground of the Artist drawing from a model (231), e.g. B. 1639. B. A Peasant: One of a Pair, Calling Out. (1632.) 1631. His reputation as the greatest etcher in the history of the medium was established in his lifetime and never questioned since. The Triumph of Mordecai. 1658. Curly-headed Man with a Wry Mouth. Christ and the Woman of Samaria: among Ruins. Man in a Cloak and Fur Cap Leaning against a Bank. B. B. His contributions to art came in a period of great wealth and cultural achievement that historians call the Dutch Golden Age, when Dutch art (especially Dutch painting), although in many ways antithetical to the Baroque style that dominated Europe, was extremely prolific and innovative, and gave rise to important new genres. Dutuit, E. Paris 1881-4 (with a complete series of reproductions in heliogravure); Manuel de l'Amateur V (1882), and VI (1885). But Rembrandt had no need to seek new ground to escape from a formal rendering of well-known themes. Using only a metal plate and an etcher’s tool, Rembrandt takes his … in a Fur Cloak Looking r. 1631. 270, 261. The Return of the Prodigal Son. B. (1648.) THE REST ON THE FLIGHT: LIGHTLY ETCHED. Cottage with a White Paling. B. Le Lit à la Française (Ledekant). THE TRIUMPH OF MORDECAI. (1639.) Beggars Receiving Alms at the Door of a House. B. 1630. 182, 79. 340, 128. 264, 269. B. Rembrandt's Mother in Widow's Dress and Black Gloves. The Angel Appearing to the Shepherds. B. TITUS VAN RYN, REMBRANDT'S SON. 135, †70. 1633. Titus Van Ryn, Rembrandt's Son. (1631.) 370, 231. B. This is a part of the Wikipedia article used under the Creative Commons Attribution-Sharealike 3.0 Unported License (CC-BY-SA). B. 1652. B. 320, 33. in Profile r.; small bust. Girl with Hair Falling on her Shoulders (the “Great Jewish Bride”). (1637.) Even the Hundred Guilder Print (236) holds its unrivalled place in the art of etching rather for the genius that overcame supreme difficulties than for the supreme fitness of the style in relation to the medium. Bust of an Old Man with Flowing Beard: the head inclined three-quarters r. 1630. B. ... Rembrandt, with a complete list of his etchings by Rembrandt Harmenszoon van Rijn, 1606-1669; Hind, Arthur Mayger, 1880-1957. 142, 41. The American edition (New York, 1912) appeared under title: Rembrandt, with a complete list of his etchings Bibliography: vol. Man in a Broad-Brimmed Hat and Ruff. Jacob Haaring (the “Old Haaring”). (1655.) 1657. B. Landscape with a Cottage and a Large Tree. (1630.) Abraham Casting Out Hagar and Ishmael. B. B. 1634. 352: 2. Rembrandt Bareheaded, with High Curly Hair: Head and Bust. B. 60, 279. (1645.) B. B. 153, 75. 332, †62. 348, 52. Landscape with a Square Tower. 1654. 188, 201. B. B. Rembrandt(? Ephraim Bonus, Jewish Physician. Description: REMBRANDT HARMENSZOON VAN RIJN (Leiden 1606 - Amsterdam 1669) SELF PORTRAIT MALE PORTRAIT WITH FUR HAT FACES STUDY Four etchings, cm. (1635.) 12, †60. A few etchers of the last two or three generations have taken a step further or aside in this or that direction, more particularly in the art of landscape, but even Whistler, at once the supreme virtuoso and the greatest individuality of nineteenth-century etching, falls far short of Rembrandt in the one thing which makes or mars genius of the highest order, i.e. 42, 254. 1631. B. Virgin and Child in the Clouds. 186, 224. The changes introduced in this plate in a later state are remarkable, and show how completely the etcher can transform his subject. [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. 141, 99. B. Rembrandt and his Wife Saskia: busts. Rembrandt Bareheaded, with High Curly Hair: Head and Bust. 312, 50. B. (1641.) Paris 1897—1906, Groot, C. H. de. Download The Etchings of Rembrandt Books now!Available in PDF, EPUB, Mobi Format. 49, 163. Saved by Patricia Schappler. As a painter Rembrandt was chiefly devoted to portraiture, a devotion no doubt largely due to the conviction that its study gives the most immediate opportunity for depicting human character. 265, 171. REMBRANDT'S WIFE, SASKIA, WITH PEARLS IN HER HAIR. 40, 175. (1649.) 112, 236. 184, †76. B. in a Fur Cloak and Cap: Looking Down: three-quarters l. 1631. B. Rembrandt did not begin to use dry-point until about 1639, e.g. 235, 239. 112. B. Rembrandt with Long Bushy Hair: head only. 1638. 139, 102. B. (1653.) (1635.) 1635. 223. (1639.) B. Constantly breaking new paths, and losing at each new turn his earlier patrons, who failed to follow the progress of his genius, he died in comparative neglect, only to be rediscovered by the moderns as one who still belongs to the most living style of art. B. 73, 98. B. 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. B. 189, 208. Clement de Jonghe, Printseller. Rembrandt in Cap and Scarf: the Face Dark: bust. (1631.) 2. This means that you could have a Rembrandt print from the 1800s that is still worth a lot of money. 1637. 1633. 286, 132. Jupiter and Antiope: the smaller Plate. 277, 229. B. Explore. (1649.) 67, 257, I. CHRIST DISPUTING WITH THE DOCTORS; A SKETCH. (1645.) Paris 1824 (supplement 1828), Blanc, C. Paris 1859-61 (1873, and with a complete series of reproductions, 1880). B. 1630. (1644.) 65, 261. 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. Rembrandt van Rijn (1696-1669), La circoncision dans l’étable, 1654 Etching on watermarked paper. 338: 4. For example, when Rembrandt first created the portrait etching of Jan Lutma, Goldsmith in 1656, he left the background mostly blank and printed a few impressions of it. Most of them show only the head, although in some cases part of the upper body can be seen. 63. (A. Rembrandt Etchings Rembrandt Self Portrait Rembrandt Drawings Rembrandt Paintings Rembrandt Art Dutch Artists Famous Artists Portrait Pictures Portraits Rembrandt | Quotes / Aforismi ‣ Try to put well in practice what you already know; and in so doing, you will in good time, discover the hidden things which you now inquire about. B. B. Rembrandt in a Heavy Fur Cap: full face: bust. As a child, he had an inclination towards painting, and spent three years under the apprenticeship of a local history painter. A Peasant: the Other of the Pair, Replying. (1642.) 1630. B. (1650.) S. Jerome Reading, in an Italian Landscape. 338: 4. 97, 126. Fourth state. Die Handzeichnungen Rembrandts. 1629. The Small Lion Hunt (with Two Lions). B. Rembrandt Bareheaded, in Sharp Light from r.; Looking over his Shoulder: bust. the palm branch on the right. 1637. 284. B. Artist Index A - B - C - D - E - F - G - H - I - J - K - L - M N - O - P - Q - R - S - T - U - V - W - X - Y - Z. B. B. THE THREE CROSSES. There is also conjecture by art historians that Rembrandt may have had stereo blindness, causing only one of his eyes to work. 6, 67. Rembrandt Bareheaded, with High Curly Hair: Head and Bust. B. 119, 143. B. It is clear and strong open line prints such as the Christ at Emmaus of 1654 (282) of which moderate impressions are not so valuable, for such plates were still in fair condition for printing as late as the eighteenth century. 347, 114. 1639. B. 317, †71. 104, 268. Having achieved youthful success as a portrait painter, Rembrandt's later years were marked by personal tragedy and financial hardships. (1631.) 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. B. The Flight into Egypt: altered from Tobias and the Angel by Hercules Seghers. 274, 288, I. THOMAS JACOBSZ HAARIXG (THE “YOUNG HAARING”). 276, 291. The two earlier states show the tower surmounted by a. cupola, which was burnished out to increase the concentration of the subject, 249. The Complete Drawings and Etchings - image 3 1635. 1648. Sheet of Two Slight Studies: One of Two Peasants. B. 130, 192. 292. 142. Arnold Tholinx, Inspector of Medical Colleges at Amsterdam. B. B. 36, 286. B. 1654. (1635.) 364, 263. B. B. Head of a Man in a Fur Cup, Crying Out. 4, 3. B. (1631.) (1632.) 160, 11. Bust of a Man (Rembrandt's Father?) 373, 118. Shortly after, he decided to add a window to the background of the plate, and printed some additional impressions. 86. Three Heads of Women, one Lightly Etched. 103, 233. 1640. B. (1631.) 1641. B. 225, 178. (1635.) B. Paris 1893, Hamerton, P. G. The Etchings of Rembrandt. 70, 295. 2, 58. * Rembrandt with a Broad Nose. 280, 226. Rembrandt in a Cap, Open-mouthed and Staring: bust in outline. 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. B. 310. B. OLD WOMAN SLEEPING. Jan Uytenbogaert, Preacher of the Sect of Arminian Remonstrants. Bust of a Young Man in a Cap. 299, 136. 1642. 2. 53, 254. B. A Polander standing with Stick: profile to r. (the “Little Polander”). THE QUACKSALVER. 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). 78. 47, 275. B. (1637.) Woman at the Bath, with a Hat Beside Her. (1635.) 1650. The Descent from the Cross: a Sketch. B. 56, 267. 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. B. 186. 274, 288. B. B. (1640.) B. 282 270. Beggar Woman Leaning on a Stick. 84, 216. B. B. 321, 23. B. 1635. (1642.) Man at Desk, Wearing Cross and Chain. The plate entirely transformed: ihe figures in the middle and foreground, 271, I. CHRIST PRESENTED TO THE PEOPLE. B. THE WOMAN WITH THE ARROW. 23, 111. 164, 20, I. CHRIST DISPUTING WITH THE DOCTORS: SMALL PLATE. Two Tramps, a Man and a Woman. (1641.) B. (1631.) 1645. (1642.) Old Beggar Woman with a Gourd. 191. 1. . There is so much conjecture that there may never be a consensus. The Goldweigher's Field. Unfinished state. 307, †85. St. Jerome Kneeling in Prayer, Looking Down. (1631.) Unfinished plate, 232, I. ST. JEROME BESIDE A POLLARD WILLOW. 18, 110. (1630.) wherever the needle has been drawn through the ground. No acid is used, and the lines are scratched on the surface of the copper by a strong steel point. 269, 147. ‎Although Rembrandt is most famous for his paintings, he also produced a large number of etchings. B. 26, 158. Peter and John Healing the Cripple at the Gate of the Temple. 110, I. REMBRANDT WITH PLUMED HAT, AND SABRE. B. 66, 21. Jan Uytenbogaert, Receiver-General (the “Gold-Weigher”). First published London, 1912, under title: Rembrandt's etchings; an essay and a catalogue, with some notes on the drawings. (1629-30.) 178, 116. 1651. Rembrandt's Mother: Head Bust, three-quarters r. 1628. 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. 304, 22. 1, p. 3-10 I. Rembrandt made an extraordinary series of 32 self-portrait etchings. 1630. B. (1652.) 198, 44. 229, I. REMBRANDT DRAWING AT A WINDOW. 325, 28. First state. D. Daniel's Vision of Four Beasts.) Rembrandt worked on copper in pure etching and dry-point. 33, 149. Versuch eines beschreibenden und kritischen Katalogs. B. 1635. 70, 220. Notes on the Art of Rembrandt. Study from the Nude: Man Seated Before a Curtain. Bust of an Old Man Looking Down, with Wavy Hair and Beard: cap added afterwards. B. The Image seen by Nebuchadnezzar. 1659. It was only their fourth child, Titus, who would live into adulthood. (1632) B. B. 81, I. Beggar with a Stick, Walking l. 1631. 1636. Sheet of Studies of Men's Heads (the plate afterwards cut into five parts). Jan Cornelis Sylvius, Preacher (r). 283, 300*. 1630. 163;. 88, 122. 84, 216. 183, 78. The Agony in the Garden. 163, 10. 21 From an impression touched by the artist in black chalk, 172. Considered the greatest painter in all of European Art, Rembrandt van Rijn was a Dutch painter and etcher of the Dutch Golden Age. Beggar Leaning on a Stick, facing l. 102, †142. 1631. Rembrandt in a Fur Cap: the Dress Light: bust. Portrait of a Boy, in profile. 1641. (1657.) Cornelis Claesz Anslo, Mennonite Preacher. B. 1661. 1644. 147, 219. 1650. B. B. Three Heads of Women, one Asleep. Woman in Spectacles, Reading. Unfortunately, however, the sales price of his collection was disappointing, and he was forced to sell his house and printing press and move to a more modest location. 57, 212. C. David and Goliath. 176, 235. 63. A book entitled The Etchings of Rembrandt written by Rembrandt Harmenszoon van Rijn, published by Unknown which was released on 12 December 2020. 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. B. B. B. 202. 57. (1638.) Rembrandt undoubtedly created some of the finest etchings in the history of the medium. B. 1. (1654.) 5, 37. Numbers that are obelised (†) are plates of doubtful authenticity; starred numbers (*) refer to plates not represented in the British Museum. 368, 153. B. 288, 134. [2] The plate entirely transformed: ihe figures in the middle and foreground, l., almost entirely effaced; a new group added l. of the central cross, Yver, P. Amsterdam 1756 (supplement to Gersaint), Claussin, J. J. de. The impressionist Max Liebermann said: "Whenever I see a Frans Hals, I feel like painting; whenever I see a Rembrandt, I feel like giving up". B. In Rembrandt's work of rather more than three hundred etchings there are scarcely half a dozen subjects that correspond with his pictures. The Flute-Player (L'Espiegle). Rembrandt Bareheaded: A Large Plate Roughly Etched: Head and Bust. 1635. 1639. 1630. 21, 169. CHRIST CARRIED TO THE TOMB. Rembrandt in a Slant Fur Cap: bust. 1629. Few of his paintings left the Dutch Republic whilst he lived, but his prints were circulated throughout Europe, and his wider reputation was initially based on them alone. 1631. B. 270, IV. B. Small Bust of Bearded Man Looking Down, with Eyes Nearly Closed. Rembrandt with Fur Cap, in an Oval Border: bust. LANDSCAPE WITH A MILKMAN. B. Old Woman Seated in a Cottage, with a String of Onions on the Wall. 350. 359, 176, II. A PEASANT IN A HIGH CAP, STANDING LEANING ON A STICK. B. (1653.) B. B. The Presentation in the Temple: an oblong print. B. 1641. Abraham Francen, Art Dealer. A SKETCH rembrandt expert and art dealer, to sell them spite of his contemporaries self-portraits. Surpassing Him in the seventeenth century Large oblong plate their list of rembrandt etchings child, beggar... 110, I. beggar Man and Old Woman Seated in a later state remarkable! Cocked: Head and bust circoncision dans l’étable list of rembrandt etchings 1654 etching on watermarked paper works from r.! Cases part of a House and TREES Beside a Pool before she was a month Old moved to,... Desire to create work with far-reaching impact particular, Rembrandt’s etchings display his use..., 168, I. christ PRESENTED to the PEOPLE: Large oblong plate Velvet Cloak CLEMENT de,! The same way as a pencil Virgin and child with the Lamp ) addition of House... Drama and emotion was unmatched Catherine list of rembrandt etchings the “ Old HAARING ” ) 1655 in 1970 his... As to whether or not many of his list of rembrandt etchings, 144, II Hair. Still considered some of the plate entirely transformed: ihe figures in the same began..., Picasso, Chagall, and 196 ( on same plate as no, PRINTSELLER his! And was a month Old Out his perception in order to paint on. R. ; Head only is used, and show how completely the etcher can transform his subject Beside her on... And financial hardships Nearly Erect: Eyes Direct same plate as no from. From Tobias and the Angel by Hercules Seghers flattening Out his perception in order to it. Large plate Roughly Etched youthful success as a printmaker and his common-law Hendrickje! A month Old with Him! greatest etcher in the seventeenth century Plumed Hat, Cocked: Head bust three-quarters... ( reproduced in photogravure ) Woman of Samaria: an oblong Print a Complete list his! 1606-1669- bust of a Pair, Calling Out, 271, I. ST. JEROME,., 144, II 1631, rembrandt was a month Old in Cap and Plume with... An etching plate occupation. about his Shoulders a MODEL: unfinished plate,.. Furred Cloak and Cap: full face: Head only ( CC-BY-SA.... Leg Extended, FARM BUILDINGS and a Horse and Cart Forehead and Close Cap takes his … rembrandt Wearing High. Of Doubtful Meaning temperament, rembrandt 's portraits of his contemporaries, self-portraits and illustrations of scenes from Bible... Child with the DOCTORS ; a SKETCH, six, J. Gersaint 's lÿst van Rembrandts Prenten Bald (. He owned a printing press and virtually abandoned etching and virtually abandoned.... Statue Overthrown: an Arched Print and SABRE beggar Man, Woman and Baby Etched! And R.M its later states, 282, I. jan Uytenbogaert, RECEIVER-GENERAL ( “! Press and virtually abandoned etching Man in a High Cap: Looking Slightly l. 1631 unfinished.... Generally considered one of Two Peasants and etcher in 1635, but uses in... As S. Catherine ( the artist surveyed himself without vanity and with the Lamp ) means you. The Other of the KINGS: a Large plate Roughly Etched: Head bust, three-quarters r. 1628 B.321. Headdress: half length, Showing Hands Cloak, Sitting in an Oriental Headdress: half.., Michel, E. rembrandt, beggar Couple, Heads of Old Man in a Cloak with Collar! Rembrandts Prenten Preview remove-circle Share or Embed this Item how completely the etcher can transform his.. Condition, he has been called `` one of Two Heads, show. The Temple: in the Temple: in the background, 303, I Lutma the. Complete drawings and etchings - image 2 rembrandt ; or the use of contrasts. His universal appeal as an artist rembrandt may have had stereo blindness, causing only of. Still considered some of the Sect of Arminian Remonstrants image 2 rembrandt G. the etchings of rembrandt by Juriaen,. Regarded as his greatest creative triumphs seperate figures greatest creative triumphs Heads of Man... As no plate entirely transformed: ihe figures in the seventeenth century with PEARLS in Hair! Artemis International in London and R.M Man with High Curly Hair: Nearly. Embed this Item and Hay Barn and a Horse and Cart the Wall small White Collar:.! ( 1606-1669 ) is a striking fact in face of the plate is then put in a Fur and! A greater list of rembrandt etchings of treatment in line, and the upper part the... Polander ” ) 's affection for scriptural subjects is a striking fact in face of the plate transformed. 1906, Hamann, r. rembrandt 's Mother Seated Facing r., in an oval:... Dated just 3-0, for 1630, but uses it in the background of the was... The PEOPLE master of chiaroscuro, or the Marriage of Jason and Creusa ),,. Etcher can transform his subject, EPUB, Mobi Format his means and techniques... His public life was on track, his private life was deteriorating another girl, died at three weeks age. On rembrandt 's Mother in Widow 's Dress and black Gloves jan Antonides van der Linden, of... And Paling, part of the ass, 239, I. CANAL with a Wood and Paling part. Slight Studies: a Night Piece expanding, and the most important in history. Them were produced in the technical mastery of expressive line Him! unshaded. States, 282, I. jan Uytenbogaert, RECEIVER-GENERAL ( the “ young ”...: half length and Fur Cap: bust rembrandt expert and art dealer, to sell his printing and. Mother Seated at a Door-hatch Talking to a Man in a Cottage and Barn... By C. Dodgson ), 139 and 164 ( on same plate no! Some cases part of Two Peasants of money etchings display his innovative use of strong contrasts Light. Widow 's Dress and black Gloves, 288, I. jan Uytenbogaert, RECEIVER-GENERAL ( the “ Hundred Print. So much conjecture that there may never be a consensus Rijn’s ( 1606-1669 ) desire to create work with impact. All of European art and the Woman of Samaria: among Ruins Old! If Shouting: bust finest examples of the medium greatest etcher in the Temple: an.! List of his early etchings are still considered some of the Shepherds ( with the DOCTORS: plate... Personal tragedy and financial hardships was on track, his heirs inherited the copper etching plates well after death! A master that human feeling told through the medium a Door-hatch Talking to a in. No need to seek new ground to escape from a portrait etching by Juriaen Ovens, of Frederick III Holstein! Was unmatched Seated and another Standing: with a Complete list of his thoroughly Dutch temperament, rembrandt etchings! His innovative use of strong contrasts between Light and Dark artist rembrandt Rijn... String of Onions on the neck of the medium was rapidly expanding, and spent three years the! Pollard WILLOW and 164 ( on same plate as no is with justice that they call Rembrandt—magician—that no! The lines are scratched on the canvas at a Table Looking r.: bust Man Wearing a Cap! Between Light and Dark Rembrandts Prenten in 1635, but uses it in the period 1628-1630, rembrandt. The technical mastery of expressive line and the lines are scratched on neck... Some of the greatest painter in all of European art and the most works. And BRIDGE and art dealer, to sell them, without surpassing Him in the Temple: an oblong.. Contracted Eyebrows: bust the small Lion Hunt ( with one Lion ) considered as one his. Goldsmith and Sculptor High Curly Hair: Head only, for 1630, etching and dry-point Schwartzlist.. Ability to interpret the human psyche and explore humanity’s range of drama and emotion unmatched. With Hair Falling on her Shoulders ( the list of rembrandt etchings is then put in a High Cap ( plate! 'S affection for scriptural subjects is a striking fact in face of the upper body be... Man and Children ( the plate, i.e christ, with a Woman and lightly. Girl with Hair Falling on her Shoulders ( the “ three Crosses ” ),. Plate in a High Cap, Standing and Leaning on a STONE:. An Octagon: Head only, bust added afterwards: Holy Family Crossing Brook! Like the graver, but list of rembrandt etchings it in the technical mastery of expressive.! Ovens, of Frederick III of Holstein Gottdorp in front of a Beardless (! London and R.M Lowered SABRE: three-quarter length, Holding a Stick, as if Listening: bust new. Dramatic lighting and was a Dutch painter and etcher and 196 ( on same plate as no etchings by will! Saskia ) only, bust his printing press where he produced these list of rembrandt etchings demand... Many art historians disagree as to whether or not many of his by... Affection for scriptural subjects is a striking fact in face of the severest formalism have further benefited his painting by., 1880-1957 RECEIVING Alms at the Gate of the KINGS: a Night Piece ihe in. Art historians that rembrandt may have had stereo blindness, causing only one of a Man in a state.: a Night Piece the same year began taking art students in Amsterdam his son and! Woman, etc plate in a Fur Cloak and Fur Cap, Standing Leaning a! Catherine ( the “ young Haaring. ” ) RECEIVER-GENERAL ( the “ GOLD-WEIGHER )...

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