MATERIAL INFINITY
With Rembrandt, the spiritual and the unfathomable are always embodied. It is by working the copper, animating the etching needle, varying the papers, and accumulating layers of ink that Rembrandt succeeds in opening a window onto the infinity of the human soul and the sacred.
Narration is contemplation.
Gideon’s Offering, c. 1640
(Holl. Dutch 2 v/v)
The Beheading of Saint John the Baptist, 1640 (New Holl. 183 i/iii)
The Card Player and Death, after 1638
(Dutuit 11)
Portrait of a Young Man, 1630-1632
(Hollstein Dutch 33)
Beggars Sitting Warming Their Hands, c. 1630 (New Hollstein 44 ii/ii)
Selfportrait with Saskia, 1636
(New Hollstein 158 iii/iv)
Portrait of a Young Woman, 1625-1632
(Hollstein Dutch 45)
Nude Woman on a Mound, c. 1631
(New Hollstein 88 ii/ii)
Beggars Standing Facing Left, c. 1630
(New Holl. 46)
The Messenger, c. 1640
(Hollstein Dutch 4 ii/ii)
Jan Uytenbogaert, Preacher of the Remonstrants, 1635
(New Holl. 153 iv/ix)
Family in a Room, c. 1645
(Holl. 4)
Saint Jerome, 1631-1636
(Holl. 15 iii/v)
The Cook Woman, 1635
(New Hollstein ii/vii)
Bust of a Young Man, c. 1630-1602
(New Hollstein 34 i/v)
Beggar Leaning against a Bank, 1630
(New Holl. 48 i/iii) counter-proof
Jupiter and Antiope, 1631
(New Holl. 78 ii/ii)
The Travelling Musicians, 1635
(New Hollstein 141 i/iii)
Lutma, 1656
(New Hollstein 293 iii/v)
The Small Lion Hunt, c. 1629
(New Hollstein 28 ii/ii)
Christ among the Doctors, 1630
(New Holl. 66 iv-v/vii)
Woman with Cap and Fur Collar, 1630
(New Holl. 58 ii/ii)
Man Shouting, Bust, c. 1629
(New Holl. 33 vii/vii)
Bust of an Oriental Wearing a Fur Hat, 1628-1632 (Hollstein Dutch 30 iii/iv)
Heads of Saskia and others, 1636
(New Holl. 157 i/ii) on pearled paper
Study sheet (fragment), 1632
(New Hollstein 115 ii/ii)
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