CHAPTER IX
THE AUTHENTIC ETCHINGS
In the entire absence of any evidence to the contrary, we are reasonably safe in concluding that the two etchings dated 1628 were, if not actually the first, among the very first he ever did; and, regarded in this light, they are truly astonishing. Both are called Rembrandt's mother, though the one in full face (B. 352) seems to represent a woman in a much humbler station of life than the stately old lady in the other (B. 354), while both, furthermore, seem to portray a woman much more advanced in years than his mother was at that time.
In the first the kindly old lady, whoever she may be, wears a large white hood shading her forehead. The right side of her face, with the exception of the prominence of the cheekbone, is in shadow, and the strong light falling on the left side of the head brings into relief the wrinkles by the nose and at the corner of the mouth, and the soft fleshy forms of the cheek and jaw. The seemingly toothless mouth is slightly open above the strong square chin. The work is simple and straightforward, but admirably expressive of the varied forms, and the roundness and solidity of the little head are excellent. The second (B. 354) is slighter and broader in handling, the forms are expressed with greater freedom, the elaboration of the modelling in the one being often replaced by a single significant line, but the shadows are somewhat forced, which results, especially in the hollow of the cheek and on the right temple, in an excessive and unpleasant blackness. Yet the dash and surety of the line-work is very fine, and to the student it is well worth careful study through a lens. The first excels in delicacy, the second in strength.
The only etching actually known to have been executed in 1629 is the first of many portraits of himself (B. 338), very broadly and strongly etched, and worked upon in places with two needles fastened side by side, a useless device, to which he never again resorted. There are fifteen dated etchings of the year 1630. Among these are no less than six portraits or studies of himself, including an excellent "Portrait in a fur cap and light dress" (B. 24), and an admirably etched study of expression known as "Rembrandt with haggard eyes" (B. 320), which is, rather, a humorous sketch of amazed bewilderment. He also, for the first time, attempted a composition with several figures—"The Presentation in the Temple" (B. 51), distinguished as the one with the angel, which, however, was not altogether a success, owing to insufficient biting. A spirited note of "An Old Beggar Man conversing with a Woman" (B. 164), and various small heads, including two profiles of the same "Bald Man" (B. 292 and 294), which M. Michel has given sound reasons for believing to be Rembrandt's father, make up the number.
He was again his own model twice in 1631—one, with a broad hat and mantle (B. 7), being the most elaborately finished piece of work he had yet attempted. There are also two "Portraits of his Mother" (B. 348 and 349); one said to be "His Father" (B. 263) though made after his death; a brilliant little sketch of a "Blind Fiddler" (B. 138), and others. There are only three dated etchings of 1632—a little figure called "The Persian" (B. 152), the first of several pictures of "St Jerome" (B. 101), a subject which had a singular fascination for the artist, and the group of "The Rat-killer" (B. 121). Three also bear the date 1633, "An Old Woman" etched no lower than the chin (B. 351), very doubtfully identified as his mother; a badly overbitten "Portrait of Himself" with a scarf round his neck (B. 17); and one subject, "The Descent from the Cross" (B. 81), which came so utterly to grief in the biting, owing apparently to bad grounding, that it was at once abandoned, only three impressions being known, and a second undertaken, though not by himself, the work having been carried out under his supervision by some unknown pupil. Another equally important plate bearing this date, "The Good Samaritan" (B. 90), is included among the disputed etchings.
The year 1634, which brought Saskia into his home, also naturally enough brought her portrait into the list of etchings. One, with pearls in her hair (B. 347), is certainly a likeness of her, and M. Michel believes it to have been the companion plate to one of Rembrandt (B. 2), executed about the same time. Another charming piece of work, "A Young Woman Reading" (B. 345), though not a portrait, was also very possibly studied from Saskia. For subjects both the Old and New Testaments supplied inspiration, the first for a decidedly seventeenth-century Dutch rendering of "Joseph and Potiphar's Wife" (B. 39), the second for the earliest treatment of a favourite subject "Christ and the Disciples at Emmaus" (B. 88). "Christ driving the Money-lenders from the Temple" (B. 69), a crowded and unsatisfactory composition, the central figure of which was borrowed from Durer; the "Martyrdom of St Stephen" (B. 97), with some singularly bad drawing in it; and another, "St Jerome" (B. 102), were the subjects treated in 1635, which is more notable for a vivacious "Portrait of Johannes Uijtenbogaerd" (B. 279); a splendid little study of "A Mountebank" (B. 129), a model of direct etching from nature wherein there is not a superfluous line, though everything that should be is expressed; and a skilful piece of chiaroscuro, "The Pancake Woman" (B. 124).
1636 has only four etchings to show—"The Prodigal Son" (B. 91), a boldly-handled piece of work, superbly executed, full of movement and expression, but marred by the revolting hideousness of the faces; the excellent portrait of "Manasseh ben Israel" (B. 269); a charming little revelation of domestic contentment, "Rembrandt and his Wife" (B. 19); and a sheet of sketches, including a very pleasing head of Saskia (B. 365). 1637 has only one etching of importance, "Abraham dismissing Hagar" (B. 30); but for sheer skill in craftsmanship the "Young Man seated in Meditation" (B. 268) would be difficult to match.