REMBRANDT
His Etchings
SIX
Many people in considering Rembrandt think of him only as a master painter; they overlook the fact that he was also the leading etcher of his time. This monograph will take up briefly this part of the great artist’s work.
It is related of Hokusai, the Japanese artist, that he once said that he hoped to live to be very old, and that he might have time to learn to draw in such a way that every stroke of his pencil would be the expression of some living thing. That is exactly what Rembrandt managed to do in almost every one of his etchings. This is particularly true of the wonderful little etching of his mother. One critic says that on looking at this etching he was compelled to close his eyes for a moment, because of the tears that rose unbidden at sight of it. It would be hard to find anything more worthy of praise than this engraving. Every line expresses motherly kindness, sweetness, and thoughtfulness. Nothing could have been omitted; the etching is complete.
So skilful was Rembrandt as an etcher that the nobleness of his ideas and the depth of his nature are apt to be overlooked. His engravings are pervaded by his big, artistic personality and by his own ennobling influence. The artist’s soul spoke not only through the choice of subject, but found expression in every single detail. He showed a singular inventive power, originality of conception, and a great depth of understanding.
Among Rembrandt’s etchings were many wonderfully life-like portraits, biblical subjects, and landscapes. An interesting thing about all this work is that most of it was done between the years 1639 and 1661. After this Rembrandt seems to have renounced etching entirely. In these twenty years he produced his greatest works, on every one of which appears the impress of the genius of the man.
Rembrandt seems to have had a particular interest in making etchings of beggars. He delighted to draw them. These types were easy to find in Amsterdam at that time; but they may be called super-beggars, for as a critic says, “One is almost inclined to say that they cannot be beggars, because the master’s hand has endowed them with the warmth and splendor with which his artistic temperament clothed everything he looked at.”
Some of Rembrandt’s etchings have brought great prices. In most cases, however, these prices varied because of the “state” of the plates. The points of difference between these “states” arise from the additions and changes made by Rembrandt on the plates. A single impression of one of his etchings, “Rembrandt with a Sword,” was bought for about $10,000 in 1893. Another, “Ephraim Bonus with Black Ring,” brought about $9,750; while a third, the “Hundred Guilder Print,” fetched about $8,750.
Some may find in Rembrandt’s etching much that at first appears rough and uncouth. More apparent skill and ease in drawing may appear to have been shown by other etchers. But Rembrandt’s work may justly be termed big, for it was conceived on a grand scale by a genius and master.