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Rembrandt in Black-and-White
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The Bible was Rembrandt’s most important source of inspiration. In his etchings of stories from the Old and New Testaments he skilfully depicted the protagonists’ inner emotions. Careful observation of facial expressions, hand gestures, and bodily movements, gave familiar narratives new psychological depth.
To capture the nuances of light, Rembrandt used etching technique in novel ways. Intermediate tones create smooth transitions from black printer’s ink to light paper. The late etchings are darkened by drypoint, increasing the expressive potential. Plates were reworked, and variations in surface tone and paper make each impression unique.
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Objektlista
Artist: Rembrandt Harmensz. van Rijn
Title: The Entombment
Description:
Christ’s body, wrapped in a shroud, is being lowered into the grave. The action is confined to the lower right corner, accentuating the feeling of descent. The light source is hidden behind the man with his back to us. The heavy surface tone was partially wiped away from the lower body of Christ, creating the effect of a dim glow of light. The extinguishing of the light thus becomes a metaphor for the extinction of life.
| Datafält | Värde |
| Title | The Entombment |
| Artist | Rembrandt Harmensz. van Rijn, Dutch, born 1606, dead 1669 |
| Technique/Material | Etching and drypoint, state IV (of IV) |
| Dimensions | Dimensions 21,2 x 16,3 cm |
| Dating | Made ca 1654 |
| Acquisition | Purchase 1956 |
| Inventory number | NMG 292/1956 |
Artist: Rembrandt Harmensz. van Rijn
Title: The Return of the Prodigal Son
Description:
This etching illustrates one of Jesus’ parables. A man had two sons. The younger asked his father for his inheritance. After receiving it he went to a faraway land and squandered his money on a life of luxury and extravagance. Rembrandt shows him returned to his father, penniless and starving, and begging his forgiveness. His father was overjoyed, summoned fine clothes for him and ordered the fatted calf to be slaughtered.
| Datafält | Värde |
| Title | The Return of the Prodigal Son |
| Artist | Rembrandt Harmensz. van Rijn, Dutch, born 1606, dead 1669 |
| Technique/Material | Etching, state I (of III) |
| Dating | Made 1636 |
| Acquisition | Transferred 1865 Kongl. Museum |
| Inventory number | NMG B 105/1977 |
Artist: Rembrandt Harmensz. van Rijn
Title: Abraham Caressing Isaac
Description:
This intimate scene of the Old Testament patriarch Abraham with Isaac, the miraculous son of his old age, focuses on the love of the father and the trusting innocence of the child. Secure in his father’s love, the child hangs on the paternal knee, his small booted feet casually placed one upon another. The father’s large hands that caress the boy’s head, and the child’s play with an apple, communicate their deep bond.
| Datafält | Värde |
| Title | Abraham Caressing Isaac |
| Artist | Rembrandt Harmensz. van Rijn, Dutch, born 1606, dead 1669 |
| Technique/Material | Etching, state I (of IV) |
| Dating | Made ca 1637 |
| Acquisition | Transferred 1865 Kongl. Museum |
| Inventory number | NMG B 107/1977 |
Artist: Rembrandt Harmensz. van Rijn
Title: The Death of the Virgin
Description:
A unique aspect of this image is the realism of the death scene at the heart of the Baroque grandiloquence of the interior. The apostle Peter, his features contorted with concern, props Mary’s limp body against a pillow, attentively holding a cloth to her nose and mouth. A grave-looking doctor takes her pulse. The combined etching and drypoint was executed with varying degrees of finish, with the sketchiest areas in the heavenly vision.
| Datafält | Värde |
| Title | The Death of the Virgin |
| Artist | Rembrandt Harmensz. van Rijn, Dutch, born 1606, dead 1669 |
| Technique/Material | Etching and dypoint, state II (of V) |
| Dimensions | Dimensions 39,5 x 41,4 cm |
| Dating | Made 1639 |
| Acquisition | Transferred 1865 Kongl. Museum |
| Inventory number | NMG B 119/1977 |
Artist: Rembrandt Harmensz. van Rijn
Title: Abraham and Isaac
Description:
To test his faith God commanded the Old Testament patriarch Abraham to offer his beloved son as a sacrifice. A puzzled Isaac is shown questioning his father about the absent sacrificial lamb after they have arrived at the place of sacrifice. With steadfast conviction Abraham, pointing toward heaven, replies that God will provide one. Isaac gravely ponders his father’s answer. Behind him opens an abyss, the drop down the steep mountain.
| Datafält | Värde |
| Title | Abraham and Isaac |
| Artist | Rembrandt Harmensz. van Rijn, Dutch, born 1606, dead 1669 |
| Technique/Material | Etching, state I (of II) |
| Dating | Made 1645 |
| Acquisition | Transferred 1865 Kongl. Museum |
| Inventory number | NMG B 153/1977 |
Artist: Rembrandt Harmensz. van Rijn
Title: The Virgin and the Child with the Cat and the Snake
Description:
Domestic realism co-exists with religious symbolism in this scene of Mary caressing her child in a cosy Dutch interior, as Joseph looks on through a window. Mary is seated on the floor in the traditional image of the Madonna of Humility, the divine radiance emanating from her head echoed by the halo-like leading of the windowpane. The housecat about to spring on a snake trapped beneath her foot presages Christ’s ultimate triumph over the devil.
| Datafält | Värde |
| Title | The Virgin and the Child with the Cat and the Snake |
| Artist | Rembrandt Harmensz. van Rijn, Dutch, born 1606, dead 1669 |
| Technique/Material | Etching, state I (of IV) |
| Dimensions | Dimensions [tryckyta] 9,5 x 14,4 cm |
| Dating | Made 1654 |
| Acquisition | Transferred 1865 Kongl. Museum |
| Inventory number | NMG B 183/1977 |
Artist: Rembrandt Harmensz. van Rijn
Title: The Flight into Egypt (crossing a brook)
Description:
Joseph and Mary, alerted by an angel, flee with the child into Egypt to avoid King Herod’s persecution. Night envelops the exhausted travellers as they ford a stream, the donkey and Joseph sinking knee-deep into the water. The spotlighted group of a stoical Mary with nodding head and the child asleep at her breast are set off by a dark wood.
| Datafält | Värde |
| Title | The Flight into Egypt (crossing a brook) |
| Artist | Rembrandt Harmensz. van Rijn, Dutch, born 1606, dead 1669 |
| Technique/Material | Etching, engraving and drypoint, only state |
| Dating | Made ca 1654 |
| Acquisition | Transferred 1865 Kongl. Museum |
| Inventory number | NMG B 184/1977 |
Artist: Rembrandt Harmensz. van Rijn
Title: Christ Seated Disputing with the Doctors
Description:
The twelve-year-old Jesus left his parents during Passover in Jerusalem to debate with the learned doctors in the temple. Gesturing excitedly and hardly able to sit still, he is shown arguing points of religion. The wise old men listen attentively. Their astonishment at such youthful wisdom is clear from their facial expressions. Rembrandt kept the composition light, using shadow sparsely and indicating the background with just a few contour lines.
| Datafält | Värde |
| Title | Christ Seated Disputing with the Doctors |
| Artist | Rembrandt Harmensz. van Rijn, Dutch, born 1606, dead 1669 |
| Technique/Material | Etching, only state |
| Dating | 1654 |
| Acquisition | Transferred 1865 Kongl. Museum |
| Inventory number | NMG B 185/1977 |
Artist: Rembrandt Harmensz. van Rijn
Title: Christ Preaching (The Hundred Guilder Print)
Description:
Rembrandts’ most celebrated etching presents a summation of Christ’s ministry. The sick, crippled, and elderly implore his help, as the religious authorities engage him in a debate. Elevated above the throng, Christ is a beacon radiating illumination. Rembrandt uses drypoint to achieve remarkable tonal effects, interweaving areas of varying degrees of finish, luminosity and semi-transparent shadow.
| Datafält | Värde |
| Title | Christ Preaching (The Hundred Guilder Print) |
| Artist | Rembrandt Harmensz. van Rijn, Dutch, born 1606, dead 1669 |
| Technique/Material | Etching engraving and drypoint, state II (of III) |
| Dating | Made ca 1648 |
| Acquisition | Transferred 1865 Kongl. Museum |
| Inventory number | NMG B 217/1977 |
Artist: Rembrandt Harmensz. van Rijn
Title: The Presentation in the Temple (in the dark manner)
Description:
Around 1654 Rembrandt produced four etchings of the same size presenting significant events from the life of Christ, in which the symbolic dialogue of darkness and light plays a key role. Joseph and Mary have brought the newborn child to the temple of Jerusalem to be presented to the priest. The aged Simeon, a holy man, takes the infant in his arms and realizes that he is the Messiah. Simeon’s personal moment of divine revelation is suffused by a quiet spirituality. A thin layer of surface tone causes the figures to loom out of an interior made mysterious and immeasurable by profound darkness.
| Datafält | Värde |
| Title | The Presentation in the Temple (in the dark manner) |
| Artist | Rembrandt Harmensz. van Rijn, Dutch, born 1606, dead 1669 |
| Technique/Material | Etching and drypoint, only state |
| Dating | Made ca 1654 |
| Acquisition | Transferred 1865 Kongl. Museum |
| Inventory number | NMG B 222/1977 |
Artist: Rembrandt Harmensz. van Rijn
Title: Christ at Emmaus
Description:
Three days after Christ’s resurrection he met two of his disciples on the road to Emmaus. This etching shows the moment when they finally recognise the identity of the traveller with whom they now share a meal. The light appearance of the image is deliberate. It portrays not just daylight shining in from the right but also the heavenly light emanating from Christ’s halo, symbolising the disciples’ enlightenment.
| Datafält | Värde |
| Title | Christ at Emmaus |
| Artist | Rembrandt Harmensz. van Rijn, Dutch, born 1606, dead 1669 |
| Technique/Material | Etching and drypoint, state III (of V). Posthumous impression. |
| Dating | Made 1654 |
| Acquisition | Transferred 1865 Kongl. Museum |
| Inventory number | NMG B 223/1977 |
Artist: Rembrandt Harmensz. van Rijn
Title: The Adoration of the Shepherds: With the Lamp
Description:
In 1654 Rembrandt produced a group of small etchings with scenes from Christ’s childhood. An open style, and down-to-earth realism in the depiction of the daily life of the Holy Family, characterise the whole group. Irregular gaps in the etched lines – due to build-up of wax or varnish around the edges of the plate, to contain the acid during biting or to protect the edges – were left blank. Rembrandt seems to have been unconcerned about such “defects. Some shepherds, instructed by an angel, hasten to Bethlehem to view the newborn Saviour. As they press eagerly forward, Mary lifts her mantle to reveal the swaddled child. The setting is nocturnal, but the manger is flooded by radiant light. The physical source of the light is an oil lamp, but symbolically we understand it to be the child himself. A semi-circle of weathered boards suggests a halo.
| Datafält | Värde |
| Title | The Adoration of the Shepherds: With the Lamp |
| Artist | Rembrandt Harmensz. van Rijn, Dutch, born 1606, dead 1669 |
| Technique/Material | Etching, state I (of III) |
| Dating | Made ca 1654 |
| Acquisition | Transferred 1865 Kongl. Museum |
| Inventory number | NMG B 246/1977 |
Artist: Rembrandt Harmensz. van Rijn
Title: The Circumcision in the Stable
Description:
Eight days after his birth Jesus was circumcised and given his name. Rembrandt locates the scene not in the temple but in the humble stable where Jesus was born. Diagonal bands of divine light and enveloping shadow call attention to the symbolic import of the event. The ladder leaning against a post alludes to the crucifixion and the descent from the cross, future events that mark the end of Jesus’ earthly life.
| Datafält | Värde |
| Title | The Circumcision in the Stable |
| Artist | Rembrandt Harmensz. van Rijn, Dutch, born 1606, dead 1669 |
| Technique/Material | Etching, state II (of V) |
| Dimensions | Dimensions 9,5 x 14,5 cm |
| Dating | Made ca 1654 |
| Acquisition | Transferred 1865 Kongl. Museum |
| Inventory number | NMG B 247/1977 |
Artist: Rembrandt Harmensz. van Rijn
Title: The Descent from the Cross by Torchlight
Description:
This dramatic night scene presents a close-up of the action, with only the base of the cross visible at the top. Rembrandt imagines the physical challenge of lowering Christ’s dead body, while a workman is tapping out the nail still pinning one foot to the cross. The sole source of light – a torch held by a man at the left – draws attention to the grisly detail of the nail. The shroud-draped bier in the foreground foreshadows the entombment.
| Datafält | Värde |
| Title | The Descent from the Cross by Torchlight |
| Artist | Rembrandt Harmensz. van Rijn, Dutch, born 1606, dead 1669 |
| Technique/Material | Etching and drypoint, state II (of IV), Posthumous impression. |
| Dating | Made 1654 |
| Acquisition | Transferred 1865 Kongl. Museum |
| Inventory number | NMG B 248/1977 |
Artist: Rembrandt Harmensz. van Rijn
Title: Abraham's Sacrifice
Description:
Abraham has made the necessary preparations for the sacrifice, being ready with the knife to slay his son. Rembrandt shows Abraham using his right hand to compassionately shield his son’s eyes from the sight of the knife. At the last moment, an angel of the Lord intervenes, sparing Isaac’s life, and delivering Abraham from despair. The angel stays Abraham’s hand, enveloping him in a tender embrace.
| Datafält | Värde |
| Title | Abraham's Sacrifice |
| Artist | Rembrandt Harmensz. van Rijn, Dutch, born 1606, dead 1669 |
| Technique/Material | Etching and drypoint, only state |
| Dating | Made 1655 |
| Acquisition | Transferred 1865 Kongl. Museum |
| Inventory number | NMG B 249/1977 |
Artist: Rembrandt Harmensz. van Rijn
Title: Christ Crucified between the Two Thieves (The Three Crosses)
Description:
Christ hangs on the cross between the two thieves, surrounded by apostles, Mary, disciples, and soldiers. The etching was done entirely in drypoint, by scratching directly into the copper plate with a needle. The full, velvety lines give the scene a sketchy character, being less suited for fine detail. Never before was the biblical “darkness over all the land" made so tangible.
| Datafält | Värde |
| Title | Christ Crucified between the Two Thieves (The Three Crosses) |
| Artist | Rembrandt Harmensz. van Rijn, Dutch, born 1606, dead 1669 |
| Technique/Material | Drypoint, state IV (of V) |
| Dimensions | Dimensions 38,5 x 45 cm |
| Dating | Made 1653 |
| Acquisition | Transferred 1865 Kongl. Museum |
| Inventory number | NMG B 253/1977 |