Rembrandt, la sua vita, il suo lavoro e il suo tempo . in, il grande piatto of1639, di gran lunga il meglio e più importante della serie. A riprova del suo interesse per questo particolare argomento possiamo menzionare le incisioni della Vergine che piangono La Morte di Gesù (B. 85) e la Vergine con il Bambino Gesù nelle Nubi (B. 61), ecutedin 1641, che seguiva da vicino sulla piastra più grande. Ma in altri esempi di questa data il maestro nota semplicemente alcuni nuovi episodi aspectof già trattati in immagini o incisioni. Per partire dai soggetti delle Scritture, troviamo una Beheading di Johnthe Baptist, più rem

• Collaboratore: The Reading Room / Alamy Foto Stock
• ID dell’immagine: 2AX4BX4
• Dimensioni dei file: 7,2 MB (430,8 KB Download compresso)
• Liberatorie: Modello - no | Proprietà - no
• Dimensioni: 1522 x 1642 px | 25,8 x 27,8 cm | 10,1 x 10,9 inches | 150dpi

Altre informazioni

Questa foto è un'immagine di pubblico dominio, il che significa che il copyright è scaduto o che il titolare del copyright ha rinunciato a tale diritto. Alamy addebita un costo per l'accesso alla copia ad alta risoluzione dell'immagine.

Questa immagine potrebbe avere delle imperfezioni perché è storica o di reportage.

Rembrandt, his life, his work and his time . in, the large plate of1639, by far the best and most important of the series. In furtherproof of his interest in this particular subject we may mention theetchings of the Virgin mourning the Death of Jesus (B. 85) andthe Virgin with the Infant Jesus in the Clouds (B. 61), executedin 1641, which followed closely on the larger plate. But in otherexamples of this date the master simply notes some fresh aspectof episodes already treated in pictures or engravings. To beginwith subjects from the Scriptures, we find a Beheading of Johnthe Baptist, more remarkable for originality than for pathos, exe-cuted in 1640 (B. 92). The composition is successfully modifiedin parts in a drawing in the Albertina. This plate was followedby various others dealing with subjects which had attractedRembrandt in his first period. In the Baptism of the Eunuch, dated 1641 (B. 98), his point is as free and flowing as though Renier Anslo—Siudy for the Etched Portrait (1640). Red and Black Chalk. (BRITISH MUSEUM.). Printed by Dra&ger & Lesieur, Paris ETCHINGS OF THIS PERIOD 275 he were sketching with a pen on paper. Around the devoutfigure of the kneeling Eunuch we note all that exuberance ofOriental convention into which the masters uncertain taste occasionallybetrayed him. This is especially pronounced in the figure of thecavalier who stolidly watches the scene from a distance. The LittleResurrection of Lazarus of 1642 (B. 72) is homelier and lessdramatic in character than the large plate of ten years earlier, and thehead of Christ is vulgar in conception, and rather clumsy in treatment.A bare mention will suffice for the Descent from the Cross and theSt. Jerome (B. 82 and 105), both executed in 1642. They are oflittle interest, the execution in both being hurried and perfunctory.In the St. Jerome, as in the Schoolmaster of 1641 (B. 128) and theMan absorbed in Meditation (B. 148), probably a plate of the sameyear, Rembrandt abandons his usual delibe

Parole chiave associate all'immagine

• bookcentury1800
• bookdecade1890
• bookpublisherlondo
• bookyear1894