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Rembrandt van RijnWoman Bathing Her Feet in a Brook by Rembrandt van RijnCirca 1658
Circa 1658
About the Item
Rembrandt van Rijn
1606-1669 Dutch
Woman Bathing Her Feet in a Brook
Etching on paper
New Hollstein's 309, second state of II
Signed and dated "Rembrandt f. 1658" (upper left)
Created from observations of a live model, this work started as a figure study before evolving into a more imaginative setting. It remains ambiguous whether the scene is set indoors, as suggested by the cushion the figure is seated on, or outdoors, indicated by the foliage in the background. The omission of her feet, suggesting they may be dangling in a brook, adds a charming touch to Rembrandt’s imaginative scene. The figure seems unaware of the viewer, presenting a dignified yet sensual demeanor.
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 then was 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 throughout his career from 1626 until 1660, the year he was forced to sell his presses. He created etchings of many subjects, including self-portraits, biblical subjects, saints and allegories, and his work was avidly admired and collected, even during his lifetime.
Versions of this etching reside in numerous museums, including the Metropolitan Museum of Art in New York, the Art Institute of Chicago and the Cleveland Museum of Art, among many others.
Printed circa 1658
Etching: 6" high x 3 1/8" wide (15.24 x 7.94 cm)
Frame: 17 7/8" high x 14" wide x 1 1/4" deep (45.40 x 35.56 x 7.94 cm)
Provenance:
Unknown collection stamp: cross in oval, not in Lugt.
Private collection
M.S. Rau, New Orleans
Literature:
F. W. H. Hollstein Dutch and Flemish Etchings, Engravings and Woodcuts. vols. 1-64, Amsterdam, 1954–2010, cat. no. B200, p. 97.
F. W. H. Hollstein Dutch & Flemish Etchings, Engravings and Woodcuts, 1450-1700, 2008, cat. no. 309, p. 297, ill.
David Maskill, 'Rembrandt van Rijn 1606-69 Netherlands', in William McAloon (ed.), Art at Te Papa(Wellington: Te Papa Press, 2009), p. 33.
- Creator:Rembrandt van Rijn (1606 - 1669, Dutch)
- Creation Year:Circa 1658
- Dimensions:Height: 17.88 in (45.42 cm)Width: 14 in (35.56 cm)Depth: 1.25 in (3.18 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:New Orleans, LA
- Reference Number:Seller: 32-01261stDibs: LU18615441822
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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