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Rembrandt van RijnDeath Appearing to a Wedded Couple from an Open Grave1639
1639
About the Item
REMBRANDT HARMENSZ. VAN RIJN
1606 Leiden Amsterdam 1669
Death Appearing to a Wedded Couple from an Open Grave 1639
drypoint and etching; 109 x 78 mm
Bartsch 109, White/Boon only state; Hind 65; New Hollstein 174, only state
PROVENANCE: extensive provenance history available on request.
Although the themes of love and death were very popular in seventeenth-century Dutch art, the motifs were usually disguised. This very direct confrontation harks back to such earlier representations as Drers Promenade (Meder 83). Accordingly, the figures themselves are clothed in sixteenth-century costume and seem to be amused rather than frightened by the skeleton before them.
This is an extraordinarily good impression of a delicately wrought plate, with all the very finest lines intact (see, for instance, the lightest lines of her flowing hair, and the proving marks below the borderline), with touches of burr, especially towards the bottom. In later impressions, the sharpness of the lines diminishes, the finest lines break or even disappear. Esdailes impression, now at the Metropolitan, is better than the Morgans, but again there are no light scratches below the border, the hair is weak and there is no burr.
Such is the quality of line, in fact, that the characteristics of both this and the other impressions lead one to suspect that the print may be wholly executed in drypoint.
Even early commentators in the eighteenth century have described this print as rare.
[Note: I’m indebted to colleague Armin Kunz for these notes on this fine print]
- Creator:Rembrandt van Rijn (1606 - 1669, Dutch)
- Creation Year:1639
- Dimensions:Height: 42.92 in (109 cm)Width: 30.71 in (78 cm)Depth: 0.04 in (1 mm)
- Medium:
- Movement & Style:
- Period:1630-1639
- Condition:
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU515313494972
Rembrandt van Rijn
Rembrandt was the most influential 17th Century Dutch painter. After years of early success as a portrait painter, his life was beset by financial hardship and personal tragedy. He continued to paint portraits and develop etchings. Rembrandt's portraits of his contemporaries, self-portraits and illustrations of scenes from the Bible are regarded as his greatest creative triumphs. His self-portraits form a unique and intimate autobiography, in which the artist surveyed himself without vanity and with the utmost sincerity. Like many artists of the Dutch Golden Age, such as Jan Vermeer of Delft, Rembrandt was also an avid art collector and dealer. 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, Flemish Baroque, and Peter Paul Rubens. Rembrandt's foremost contribution in the history of printmaking was his transformation of the etching process from a relatively new reproductive technique into a true art form, along with Jacques Callot. His reputation as the greatest etcher in the history of the medium was established in his lifetime and never questioned since. Few of his paintings left the Dutch Republic while he lived, but his prints were circulated throughout Europe, and his wider reputation was initially based on them alone.
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