The Complete Etchings of Rembrandt: Reproduced in Original Size

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Gary Schwartz
Dover Publications, 1977 - Art - 224 pages
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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.

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Contents

Contents
6
The literature on Rembrandts etchings
19
Old Testament 32843
43
Copyright

5 other sections not shown

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About the author (1977)

Rembrandt is the greatest painter of the Dutch School and one of the greatest painters of all time. With a glowing sense of color, he was often somber, with a tragic view of reality and the human condition and a wonderful eye for light and darkness. He was prodigiously creative:More than 600 paintings, more than 300 etchings (many of them masterpieces), and approximately 2,000 drawings (including many exquisite landscape sketches) have been counted. Biblical and historical subjects take up a large part of his work, but he was also a marvelous portrait painter, as we see in the portraits of his mother, his first and second wives, and his son, but above all in his searching self-portraits, done at various stages of his life---from the hopeful, lighthearted youth to the disillusioned but unflinching and deeply introspective old man. He completed more than 60 self-portraits---a record unique in the history of art. Born in Leiden, in the Netherlands, Rembrandt moved to Amsterdam in 1631, where he spent the rest of his life. In his youth he loved luxury and the pleasures of life; later he became increasingly austere. Rembrandt was highly successful in his early years, but prevailing taste and his own style developed in very different directions. He died a poor and isolated man in 1669. The Night Watch and The Anatomy Lesson of Dr. Tulp (both in Amsterdam) are among his most famous paintings. Among the etchings, the Hundred Guilder Print stands out.

Gary Schwartz studied art history at NYU and Johns Hopkins. In 1965 he moved to the Netherlands, where he has been active as an art historian, translator, writer, and publisher. A regular contributor to magazines and newspapers in the Netherlands, Germany, and the United States, Schwartz writes a bi-weekly column on art history in the Dutch press, which is circulated in English on the Internet under the title "Form Follows Dysfunction.

Bibliographic information