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Lot Essay
Rembrandt's interest in the effects and depiction of light and darkness was a constant factor throughout his artistic development, and resulted in tireless exploration and experimentation in various media. The Parisian art dealer and author of the first catalogue raisonné of Rembrandt's prints, Edmé-François Gersaint wrote in 1744 that '... his reputation is due to his genius, his reflections and his continuous study of effects of light in nature, which he portrayed with a surprising exactitude and force'.
Christ returning from the Temple with his Parents demonstrates his ability to achieve highly atmospheric, chiaroscuro effects on a small scale. It is the final in a series of six prints of 1654, depicting events from the childhood and youth of Christ. Despite the unifying theme and the similar format of this group, the present plate is the only one from the series executed to any great extent with drypoint. The velvety effects of the burr heightens the contrast between light and shadow, enhancing 'the impression of a bright, sunny day - which no doubt explains why Joseph needed his broad-brimmed hat.' (Hinterding, 2014).
Over the course of its history the scene has been variously interpreted as another version of the Holy Family's Flight into Egypt or their return to Galilee, including by Gersaint and Bartsch. It was only in the early 18th century that the subject was first identified as relating to an episode from the Gospel of Saint Luke. The twelve year-old Jesus, having gone missing in Jerusalem during the feast of Passover, is discovered by his parents sitting among the rabbis in the temple : 'And all that heard him were astonished at his understanding and answers. And when they saw him, they were amazed: and his mother said unto him, Son, why hast thou thus dealt with us? behold, thy father and I have sought thee sorrowing. And he said unto them, How is it that ye sought me? wist ye not that I must be about my Father's business? And they understood not the saying which he spake unto them. And he went down with them, and came to Nazareth, and was subject unto them: but his mother kept all these sayings in her heart'. (Luke 2, 47-51, King James version.)
Rembrandt's etching depicts the Holy Family as they return home to Nazareth after this episode, with the boy Jesus flanked by his weary parents, each holding one of his hands, accompanied by a small dog. It is a glimpse of family life, a child suspected of truancy being firmly escorted by his parents while plaintively pleading his innocence. In the background is a sunlit vista full of bucolic charm, with shepherds watering their flocks at a small river, and a bridge and city nestled in the foothills of a craggy landscape. The lengthening shadows, created with generously applied drypoint, wonderfully evokes the late afternoon as the family sets out on their long journey. The landscape formula of the deep valley and the addition of the lively little dog is reminiscent of his teacher Pieter Lastman's landscapes.
The Loss of the Child Jesus is one of the seven sorrows of the Mater Dolorosa, a popular topos of Christian imagery and devotion. The hunched posture of the Virgin and her grieved faced convey this quiet misery. Despite Mary's sorrowful expression, the print is a very tender, intimate depiction of the Holy Family, and may reflect the artist's personal circumstances at the time: his son Titus had turned twelve the year before, and in 1654 Hendrickje Stoffels gave birth to their daughter, Cornelia.
The present impression, from the collection of the Counts of Plessen-Cronstern, prints with much burr, plate tone and pronounced wiping marks, and is an excellent example of Rembrandt's experiments with drypoint, tone and other atmospheric effects in his printmaking practice during the early 1650s.
E. Hinterding, Rembrandt, The Late Works, London, 2014, p. 173-191.
C. M. Rosenberg, Rembrandt's Religious Prints, Bloomington, 2017, n. 40, p. 236-241.
Christ returning from the Temple with his Parents demonstrates his ability to achieve highly atmospheric, chiaroscuro effects on a small scale. It is the final in a series of six prints of 1654, depicting events from the childhood and youth of Christ. Despite the unifying theme and the similar format of this group, the present plate is the only one from the series executed to any great extent with drypoint. The velvety effects of the burr heightens the contrast between light and shadow, enhancing 'the impression of a bright, sunny day - which no doubt explains why Joseph needed his broad-brimmed hat.' (Hinterding, 2014).
Over the course of its history the scene has been variously interpreted as another version of the Holy Family's Flight into Egypt or their return to Galilee, including by Gersaint and Bartsch. It was only in the early 18th century that the subject was first identified as relating to an episode from the Gospel of Saint Luke. The twelve year-old Jesus, having gone missing in Jerusalem during the feast of Passover, is discovered by his parents sitting among the rabbis in the temple : 'And all that heard him were astonished at his understanding and answers. And when they saw him, they were amazed: and his mother said unto him, Son, why hast thou thus dealt with us? behold, thy father and I have sought thee sorrowing. And he said unto them, How is it that ye sought me? wist ye not that I must be about my Father's business? And they understood not the saying which he spake unto them. And he went down with them, and came to Nazareth, and was subject unto them: but his mother kept all these sayings in her heart'. (Luke 2, 47-51, King James version.)
Rembrandt's etching depicts the Holy Family as they return home to Nazareth after this episode, with the boy Jesus flanked by his weary parents, each holding one of his hands, accompanied by a small dog. It is a glimpse of family life, a child suspected of truancy being firmly escorted by his parents while plaintively pleading his innocence. In the background is a sunlit vista full of bucolic charm, with shepherds watering their flocks at a small river, and a bridge and city nestled in the foothills of a craggy landscape. The lengthening shadows, created with generously applied drypoint, wonderfully evokes the late afternoon as the family sets out on their long journey. The landscape formula of the deep valley and the addition of the lively little dog is reminiscent of his teacher Pieter Lastman's landscapes.
The Loss of the Child Jesus is one of the seven sorrows of the Mater Dolorosa, a popular topos of Christian imagery and devotion. The hunched posture of the Virgin and her grieved faced convey this quiet misery. Despite Mary's sorrowful expression, the print is a very tender, intimate depiction of the Holy Family, and may reflect the artist's personal circumstances at the time: his son Titus had turned twelve the year before, and in 1654 Hendrickje Stoffels gave birth to their daughter, Cornelia.
The present impression, from the collection of the Counts of Plessen-Cronstern, prints with much burr, plate tone and pronounced wiping marks, and is an excellent example of Rembrandt's experiments with drypoint, tone and other atmospheric effects in his printmaking practice during the early 1650s.
E. Hinterding, Rembrandt, The Late Works, London, 2014, p. 173-191.
C. M. Rosenberg, Rembrandt's Religious Prints, Bloomington, 2017, n. 40, p. 236-241.