Rembrandt, Harmensz van Rijn, Négresse couchée (Nude Woman Lying Down), 1658
Harmensz van Rijn Rembrandt, Etching, Négresse couchée (Nude Woman Lying Down), 1658
|Artist:||Rembrandt, Harmensz van Rijn (1606 - 1669)|
|Title:||Négresse couchée (Nude Woman Lying Down), 1658|
|Image Size:||6 1/4 in x 3 3/16 in (15.9 cm x 8.1 cm)|
|Sheet Size:||6 3/4 in x 3 5/8 in (17.1 cm x 9.2 cm)|
|Framed Size:||20 1/2 in x 17 1/2 in (52.1 cm x 44.4 cm)|
|Signed:||This work is signed and dated by Rembrandt (Leiden, 1606 - Amsterdam,1669) in the plate in the lower left, 'Rembrandt f. 1658'.|
|Edition:||Nowell-Usticke State IV (of V); Biörklund State III (of III); White & Boon State III (of III); Hind State III (of III).|
|Condition:||This work is in excellent condition with wide margins.|
|Gallery Price: |
|Sorry, this item is sold. Please visit the rest of our Rembrandt fine art collection|
Though it is difficult to imagine today in light of Rembrandt's current reputation, his paintings were initially met with skepticism, so much did his style vary from that of his contemporaries. In contrast, his etchings, "Laid the solid foundations of Rembrandt's fame their reputation has hardly ever varied," notes scholar Ludwig Münz. What compels the modern viewer in the artist's nudes created in 1658, late in his life, is their realism. Nude Woman Lying Down evokes a sense of closeness to the subject that stems from the intimate size and framing of the image. The print is not an idealized idea of woman but a portrait of one woman's life, contained in her body. The etching is a lovely example of the artist's commitment to realism and respect for the female form.
Created in 1658, this original etching is signed and dated by Rembrandt (Leiden, 1606 - Amsterdam, 1669) in the plate in the lower center 'Rembrandt f. 1636.' According to Nowell-Usticke, this print was likely pulled circa 1810 by Jean, and is a State IV (of V) impression; this is a Biörklund State III (of III); White & Boon State III (of III); and Hind State III (of III). Approximately 225-500 copies are thought to exist, though the exact number is unknown.
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. 205.
2. Biörklund, George, Rembrandt's Etchings: True and False, 1968. Listed and illustrated as catalogue raisonné no.BB 58-E.
3. Hind, Arthur. A Catalogue of Rembrandt's Etchings. New York, 1967. Listed and illustrated as catalogue raisonné no. 299.
4. Münz, Ludwig. Rembrandt Etchings: reproductions of the whole original etched work. London: Phaidon Press, 1952. Listed & illustrated as Plate 159.
5. Nowell-Usticke, G.W. Rembrandt's Etchings. Narberth, 1988. Listed and illustrated as catalogue raisonné no. B 205.
6. White, Christopher & Karel Boon. Rembrandt's Etchings, Vol. I: Text. Amsterdam, 1969. Listed as catalogue raisonné no. B 205.
7. White, Christopher & Karel Boon. Rembrandt's Etchings, Vol. II: Plates. Amsterdam, 1969. Illustrated as catalogue raisonné no. B 205.
8. A Certificate of Authenticity will accompany this work.
About the Framing:
About Us: Masterworks Fine Art strives to be the best source of fine art for our clients and collectors all over the world. We believe the most direct way to accomplish this is by establishing a lifetime of personal and professional relationships with our clients. More About Us »
Do you own a similar Rembrandt to sell? We offer free evaluations.
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.