Rembrandt, Harmensz van Rijn, Christ Preaching (La Petite Tombe), c. 1652
Harmensz van Rijn Rembrandt, Etching, Christ Preaching (La Petite Tombe), c. 1652
|Artist:||Rembrandt, Harmensz van Rijn (1606 - 1669)|
|Title:||Christ Preaching (La Petite Tombe), c. 1652|
|Image Size:||8 1/10 in x 6 1/10 in (20.6 cm x 15.5 cm)|
|Sheet Size:||8 1/10 in x 6 1/10 in (20.6 cm x 15.5 cm)|
|Framed Size:||22 1/2 in x 21 in (57.2 cm x 53.3 cm)|
|Edition:||According to Nowell-Usticke, this work is a State II (of III) impression; Biörklund State I (of I); White & Boon State I (of I); Hind State I (of I).|
|Condition:||In very good condition with slight discoloration not affecting quality of image; expert conservation to small tear in lower right of image.|
|24 Hour Sale:||40% Off: $9,000|
Rembrandt captures various attitudes of deep thought and spirituality in the crowd gathered around Christ. This detailed etching brings a moment from the New Testament to life.
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|Showing a crowd of the faithful gathered around Christ, Rembrandt captures thoughtful
and spiritual expressions on the listeners' faces. While his fame as a portraitist
grew during the 1630's in Amsterdam, Rembrandt chose to focus not only on commissions
but on biblical and mythological scenes. Potential buyers for the religious
works included members of the bourgeoisie. Dr. Susanna Partsch explains that
palaces formerly belonging to the aristocracy were bought up and, "In order
to prove his piety
a Calvinist could justify the purchase of pictures which
took as their theme the life of Christ. Accordingly, these pictures were expected
to express inner communion, revelation or compassion" (Rembrandt, 79.)
Although Christ Preaching is an etching and not a painting, it can still be
understood in this context. Printmaking provided a way for Rembrandt to reach
a wider audience still, and accordingly he chooses popular imagery that appeals
to a wide range of viewers. Likely depicting Christ during his time in Rome,
this detailed work shows all members of society, brought together by one force.
According to Nowell-Usticke, this work is a State II (of III) impression; Biörklund State I (of I); White & Boon State I (of I); Hind State I (of I).
Catalogue Raisonné & COA:
1. Bartsch. The Illustrated Bartsch Vol. 50. Edited by Stephanie S. Dickey. New York: Abaris Books, 1981. Illustrated as catalogue raisonné no. 67.
2. Biörklund, George, Rembrandt's Etchings: True and False, 1968. Listed and illustrated as catalogue raisonné no. BB 52-2.
3. Hind, Arthur. A Catalogue of Rembrandt's Etchings. New York, 1967. Listed and illustrated as catalogue raisonné no. 256.
4. Münz, Ludwig. Rembrandt's Etchings: Reproductions of the Whole Original Etched Work, Vol. 1. London: Phaidon Press, 1952. Listed and illustrated as catalogue raisonné no. 236.
5. Nowell-Usticke, G.W. Rembrandt's Etchings. Narberth, 1988. Listed and illustrated as catalogue raisonné no. B 67.
6. White, Christopher & Karel Boon. Rembrandt's Etchings, Vol. I: Text. Amsterdam, 1969. Listed as catalogue raisonné no. B.67.
7. White, Christopher & Karel Boon. Rembrandt's Etchings, Vol. II: Plates. Amsterdam, 1969. Illustrated as catalogue raisonné no. B.67.
8. A Certificate of Authenticity will accompany this work.
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Biography of Harmensz van Rijn Rembrandt
Rembrandt was born in Leiden and died in Amsterdam. He was the son of a miller and a baker's daughter, and was originally intended to become a scholar. He went to Latin School and then enrolled at the University of Leiden. After only a year he left to become apprenticed from 1622 to 1624 to a mediocre Leiden painter, Jacob van Swanenburgh. More important for his artistic development, however, was the short period of about six months that he spent training under Pieter Lastman in Amsterdam. In 1625 he began a working association with his friend Jan Lievens in Leiden, finally moving to Amsterdam in 1631/32. In the history of Dutch painting this date represents an important milestone, as Rembrandt was to become the incomparable representative of Amsterdam art. He soon established himself in Amsterdam, received many commissions and opened a large workshop. In 1634 he married Saskia, a lawyer's daughter, who brought a considerable dowry into the marriage.
In 1639 he bought a large house, never quite paid for, which he filled with works of art and curios. Soon his passion for collecting exceeded his finances. In 1642, the year he painted "The Night Watch" Saskia died, and from 1649 he lived with Hendrickje Stoffels whom he could not marry without losing Saskia's legacy to their son Titus. In 1656 he went bankrupt, and his house and all possessions were put up for compulsory auction. Rembrandt spent his final years in poverty and isolation in rooms on the outskirts of Amsterdam, his powers of creation undiminished.
Rembrandt was the most universal artist of his time and he influenced painting for half a century, irrespective of schools or regional style. From his many fields of activity his pupils developed their own specialties, ranging from trompe l'oeil painting to the very detailed Leiden style. Unlike most Dutch painters of the time, who worked in fairly narrow fields, Rembrandt depicted almost every type of subject.
Although Amsterdam's leading portraitist for a decade ("Jan Six", Amsterdam, Foundation Six), also doing group portraits (The Staalmeesters," he was a painter of numerous biblical scenes ("The Sacrifice of Isacc," St. Petersburgh, Hermitage), of the mythological works works ("Philemon and Baucis", Washington, National Gallery) and landscapes ("Landscape in Thunders Brunswik, Herzog-Utrich-Museum) as well at life. In his work, branches of painting often overlapped, as for example in the group portrait "The Night Watch," where he took liberties with a number of rules. Rembrandt's fame rests on his continual development of pictorial devices and unvarying excellence of execution (unlike the works of Rubens, man which were left in part to workshop routine), a well as on his brilliant handling of light and shade and his ability to suggest states of mind through facial expression.
Apart from his greatness as a painter he was a powerful draughtsman and etcher. About 300 of these Rembrandt etchings survive. In this field he extended the technique and artistic possibilities, for example introducing the chiaroscuro effect, raising it to an art for in its own right. Amongst his approximately 15 drawings, the landscape scenes are particularly captivating in their serenity and harmony. Rembrandt's The Hundred Guilder Print is one of his most valuable and sought after etchings.