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Rembrandt van RijnThe Death of the Virgin by Rembrandt van Rijn1639
1639
About the Item
Rembrandt van Rijn
1606-1669 Dutch
The Death of the Virgin
Etching and drypoint on laid paper
State II of V
Signed and dated "Rembrandt f. 1639" (lower left)
In The Death of the Virgin, Rembrandt engages with traditional iconography but approaches it through a markedly humanized lens. Departing from the more common portrayal of a youthful, idealized Virgin, he depicts Mary as aged, emphasizing the gravity of her final moments. Unlike earlier compositions that typically include only Apostles, Rembrandt broadens the scene to incorporate women and a physician who gently checks her pulse, elements that, while not drawn from canonical scripture, enrich the scene’s emotional and narrative realism. At 15 1/2” high, it is also a remarkably large etching by the artist, adding to its dramatic impact and rarity.
This emotionally rich scene unfolds within a shadowed, timbered chamber, its earthly gravity offset by a host of angels who hover above, delicately sketched in wisps of light. Rembrandt's handling of the etching needle is particularly free and expressive in this upper register, suggesting spiritual transcendence. Notably, he leaves visible the traces of earlier compositional decisions, such as the repositioned risers supporting the bed, offering rare insight into his creative process.
The son of a miller, Rembrandt van Rijn is believed to have been born in Leiden on July 15, 1606. He studied first at the Latin School and was then enrolled at the University of Leiden at the age of 14. He soon left to study art—first with a local master, Jacob van Swanenburch, and then, in Amsterdam, with Pieter Lastman, known for his historical paintings. Rembrandt was an exceptionally gifted student and mastered his art in a mere six months. Now 22 years old, he returned to Leiden and was soon so highly regarded that he was able to take students of his own.
Though known today primarily for his paintings, Rembrandt's fame spread outside the Netherlands thanks to his etchings. He made hundreds of etchings over the course of his career from 1626 until 1660, the year he was forced to sell his presses. He created etchings of a number of subjects, including self-portraits, biblical subjects, saints and allegories, and his work was avidly admired and collected, even during his lifetime.
Rembrandt’s masterful synthesis of narrative, technical virtuosity and spiritual intensity has secured The Death of the Virgin
Dated 1639
Etching: 15 1/4” high x 12 1/4” wide (38.74 x 31.12 cm)
Frame: 22 1/4” high x 18 1/4” wide x 1” deep (56.52 x 46.36 x 2.54 cm)
Provenance:
Private collection, the Netherlands
M.S. Rau, New Orleans
Literature:
Bartsch, Adam. Le Peintre-Graveur, Vol. 1. Vienna: Kunstverlag, 1803. No. 99
Hind, Arthur M. A Catalogue of Rembrandt’s Etchings. London: Methuen, 1923. No. 161, Third State (of V)
New Hollstein Dutch & Flemish Etchings, Engravings and Woodcuts 1450–1700: Rembrandt, ed. Erik Hinterding, Jaco Rutgers. Ouderkerk aan den IJssel: Sound & Vision Publishers, 2013. Vol. II, No. 39.173, Second State (of V)
- Creator:Rembrandt van Rijn (1606 - 1669, Dutch)
- Creation Year:1639
- Dimensions:Height: 22.25 in (56.52 cm)Width: 18.25 in (46.36 cm)Depth: 1 in (2.54 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:New Orleans, LA
- Reference Number:Seller: 32-10841stDibs: LU18616442922
Rembrandt van Rijn
Rembrandt was the most influential 17th Century Dutch painter. After years of early success as a portrait painter, his life was beset by financial hardship and personal tragedy. He continued to paint portraits and develop etchings. Rembrandt's portraits of his contemporaries, self-portraits and illustrations of scenes from the Bible are regarded as his greatest creative triumphs. His self-portraits form a unique and intimate autobiography, in which the artist surveyed himself without vanity and with the utmost sincerity. Like many artists of the Dutch Golden Age, such as Jan Vermeer of Delft, Rembrandt was also an avid art collector and dealer. Rembrandt never went abroad, but he was considerably influenced by the work of the Italian masters and Netherlandish artists who had studied in Italy, like Pieter Lastman, the Utrecht Caravaggists, Flemish Baroque, and Peter Paul Rubens. Rembrandt's foremost contribution in the history of printmaking was his transformation of the etching process from a relatively new reproductive technique into a true art form, along with Jacques Callot. His reputation as the greatest etcher in the history of the medium was established in his lifetime and never questioned since. Few of his paintings left the Dutch Republic while he lived, but his prints were circulated throughout Europe, and his wider reputation was initially based on them alone.
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