Etching and drypoint: 16,2 x 8,0 cm
signed and dated (u.l.) ‘Rembrandt. | f. 1658’
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In 1658 Rembrandt created several enigmatic, tonal etchings of women, presumably sketched directly from nude models. Each hints at a setting or subject, although the artist no doubt meant them to be open to interpretation. In this case, the fact that he did not show the woman’s feet suggests that he intended them to dangle in water; a few clumps of leaves are distinguishable in the dark background. Curiously, however, he also depicted a large cushion and what seems to be the backrest of a chair.
As one of the towering figures in the history of art, Rembrandt, a miller’s son from the university town of Leiden, was an artist of unmatched genius. Equally gifted as a painter, printmaker, and draftsman, Rembrandt proved himself to be as skillful at making portraits as he was at creating religious and mythological narratives. His landscapes are just as remarkable as his rare still lifes and subjects detailing everyday life.
Widely recognized as the greatest practitioner of the etching technique in the history of art, Rembrandt created 300 prints that constitute a body of work unparalleled in richness and beauty. During his lifetime, Rembrandt’s extraordinary skills as a printmaker were the main source of his international fame. Unlike his oil paintings, prints travelled light and were relatively cheap. For this reason, they soon became very popular with collectors not only within, but also beyond the borders of the Netherlands.
Bartsch 200; Hind 298;
The New Hollstein Dutch no. 309, First state (of II)
Plate in existence in Paris – with Nowell-Usticke (1967)
Excellent, deep black impression with rich contrast and thread margins around the plate mark. Mounted on support at three corners.