The School of Rembrandt, Abraham and Isaac
Signed The School of Rembrandt etching, Abraham and Isaac
|Artist:||The School of Rembrandt (1600 - 1700)|
|Title:||Abraham and Isaac|
|Image Size:||6 1/8 in x 5 in (15.6 cm x 12.7 cm)|
|Sheet Size:||6 1/2 in x 5 1/4 in (16.5 cm x 13.3 cm)|
|Framed Size:||21 1/4 in x 20 in (54 cm x 50.8 cm)|
|Condition:||This work is in excellent condition.|
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Item # 3641
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Historical Description of this artwork
Highlighting the gap between youth and adulthood, Rembrandt depicts a portrait of father and son. Abraham appears as if lecturing Isaac, pointing his finger while Isaac stands calmly grasping a log, unaware of the solemnity of the moment. As a trial of his devotion, God asked Abraham to sacrifice his only son Isaac to him upon a mountaintop. The artist here depicts the moment prior to Abraham's attempted sacrifice, which of course was stopped by God once he saw that Abraham intended to go through with the horrific act. In this print, Abraham's solemn expression hints at the weight of the world while Isaac, oblivious to the hardships of life, appears attentive yet slightly aloof, as if taking Abraham's words with a grain of salt. The artist contrasts light and dark in a manner reminiscent of Rembrandt, toying with light and shadow to create a three dimensional space.
This piece is a copy in reverse created after an original etching by Harmensz van Rijn Rembrandt (Leiden, 1606 – Amsterdam, 1669) by a student or follower of Rembrandt.
Catalogue Raisonné & COA:
The original etching by Rembrandt from which this work is based on is fully documented and referenced in the below catalogue raisonnés and texts (copies will be enclosed as added documentation with the invoices that will accompany the final sale of the work).
1. Bartsch. The Illustrated Bartsch Vol. 50. Edited by Stephanie S. Dickey. New York: Abaris Books, 1981. Illustrated as catalogue raisonné no. 34.
2. Biörklund, George, Rembrandt's Etchings: True and False, 1968. Listed and illustrated as catalogue raisonné no. BB 45-D.
3. Hind, Arthur. A Catalogue of Rembrandt's Etchings. New York, 1967. Listed and illustrated as catalogue raisonné no. 214.
4. Nowell-Usticke, G.W. Rembrandt's Etchings. Narberth, 1988. Listed and illustrated as catalogue raisonné no. 34.
5. White, Christopher & Karel Boon. Rembrandt's Etchings, Vol. I: Text. Amsterdam, 1969. Listed as catalogue raisonné no. B. 34.
6. White, Christopher & Karel Boon. Rembrandt's Etchings, Vol. II: Plates. Amsterdam, 1969. Illustrated as catalogue raisonné no. B. 34.
7. A Certificate of Authenticity will accompany this work.
About the Framing:
This work is framed to museum-grade, conservation standards, presented in a complementary moulding and finished with linen-wrapped mats and optical grade Plexiglas.
What Do I Get With My Purchase?
The Certificate of Authenticity accompanies this work, guaranteeing its authenticity for as long as you own it.
All catalogue raisonné and historical documentation is included with your purchase.
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The School of Rembrandt Complete Biography
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The School of Rembrandt Biography
Harmensz van Rijn Rembrandt’s (Leiden, 1606 – Amsterdam, 1669) school in Amsterdam was one of the busiest art enterprises of the 17th century. As a talented and popular teacher with more than 50 documented students, Rembrandt created not only a name for himself but for his school as well. His name lives on through his own vast artistic oeuvre and through the works that his students created that greatly resemble his artistic style. From paintings to drawings to etchings, his students explored a variety of artistic mediums, creating works of great artistic merit.
Drawing, in particular, played a crucial role in Rembrandt’s teaching methods. Rembrandt would create drawings for his students to imitate, and he and his pupils would sketch the same models and landscapes side by the side. As a result of these immersive training methods, Rembrandt’s drawings and those of his students retain many stylistic similarities.
Works by the School of Rembrandt display traits that define Rembrandt’s artistic style: the delicate handling of line, rendering of expressions and gestures, and description of light. Rembrandt’s works display an active use of light and shadow on his figures creating a dramatic chiaroscuro effect while his subjects appear to come to life with their remarkably detailed and human expressions. His students learned such methods from him and expertly applied them to their own works.
Amongst some of Rembrandt’s more notable students are Ferdinand Bol (1616 -1680), Gerrit Dou (1613-1675), Carel Fabritius (1622 – 1654), Govert Flinck (1615 – 1660), and Samuel van Hoogstraten (1627 – 1678).
~Derived from http://www.getty.edu/art/exhibitions/rembrandt_drawings/