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Rembrandt Etchings is an accessible book that will guide you on your visual journey of discovery, and allow you to see why Rembrandt was the greatest of all 17th-century printmakers. You will learn a great deal about the technical aspect of printmaking, Rembrandt's choice of papers, and his expertise in marketing his etchings.
This book charts the life of Rembrandt Harmens Van Rijn from his early life in the Dutch town where he was born in 1606 to his death in 1669 in Amsterdam. For any art historian of this school of painting the book is invaluable as the information is comprehensive and all of his etchings are illustrated, cataloged, and described.
This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1887 edition. Excerpt: ...--Bl 54; B 79; W 85; M 222; Du 86.--Assigned to about 1640 by V., to 1648 by M. Two states; 2d state shown. Scwall Coll. 175. The Sick Woman. (Saskia Dying.)--Bl 202; B 359; W 353; M 150; Du 347.--Assigned to about 1640 by V., to 1672 by M. One state only. Sewall Coll. V. does not share the opinion of Bl. and others, that this is a portrait of Saskia. 176. The Skater.--Bl 121; B 156; W 153; M 103; Du 152.--Assigned to between 1636 and 1640 by V., to 1633 by M. One state only. Shown in photogravure. From Bl.'s R. 177. A Young Woman with a basket.--Bl 240; B 356; W 350; M 151; Du 344.--Assigned to about 1640 by V., to 1642 by M. Two states; 1st state shown. Sewall Coll. 178. An Old Man with a divided fur cap.--Bl 271; B 265; W 267; M 145; Du 280.--Signed: Rembrandtf. Dated 1640. One state only. Sewall Coll. 179. The Bull.--Bl 346; B 253; W 249; M 289; Du 250.--Signed: Rembrandt. f. 164. (last figure wanting). Date read 1640 by V.; assigned to 1649 by M. One state only. Shown in photogravure. From Bl.'s R. 180. The Canal.--Bl 322; B 221; W 218; M 327; Du 218.--Assigned to about 1640 by V., to 1652 by M. One state only. Sewall Coll. 181. The Adoration of the Shepherds. Night effect.--Bl 19; B 46; W 51; M 230; Du 51.--Assigned to between 1632 and 1640 by V., to 1652 by M. Six states; two shown: --a.) 2d state (?). Seivall Coll. (&.) 6th state (?). Sewatt Coll. Both M. and Bl. describe six states, but their descriptions are at variance with one another, and do not agree with the prints themselves. The trouble probably arises from the description of trial proofs as states, and from variations in printing. Very likely, impression a is the 1st state, and earlier impressions are only trial proofs. 182. The Flight into Egypt.--Bl 27; B 54; W 59;...
Rembrandt is revered not only as a painter, but as a supreme master of drawing and etching as well. His work in etching spanned most of his career and embraced the wide range of subjects he pursued in his painting: portraits, landscapes, biblical scenes, pictures with allegorical and mythological themes, and more. This comprehensive collection contains Rembrandt's complete etchings — over 300 works — most of them shown in their original size. They have been reproduced directly from a rare collection famed for its pristine condition, fresh, clean impressions, rich contrasts, and brilliant printing. Among the etchings included are: Self portrait drawing at a window (1648); Abraham's sacrifice (1655); Christ preaching ["The hundred-guilder print"] (ca. 1643–49); Christ crucified between the two thieves ["The three crosses"] (1653); The return of the prodigal son (1636); The three trees (1643); Faust (ca. 1652); Jan Six (1647); The great Jewish bride (1635); The strolling musicians (ca. 1635). The etchings are reproduced from the originals themselves rather than from reduced photographs, which can depart significantly in quality from the originals. This handsome volume is filled with information critical to fully appreciating the extraordinary images it contains. Detailed captions point out features of special interest and provide vital information such as title, signature, date, collection, Bartsch number, state of impression reproduced, and total number of states. Also included are a chronology of Rembrandt's life and etchings, a discussion of the technique of etching in his time, and an excellent bibliography. Art lovers, scholars, students of etching, and anyone with an interest in Rembrandt and his work will find in this beautiful book a rare and exciting visual experience.
Excerpt from Exhibition of the Etched Work of Rembrandt, and of Artists of His Circle: Together With Engravings, Etching, Etc;, From Paintings and Sketches by Him; Principally From the Collection of Mr. Henry F. Sewall of New York, April 26 to June 30, 1887 The Sumner portraits and a few other engravings from the Sumner bequest are displayed permanently in frames hung above the wall screens in the First Print Room. Exhibitions of prints, ancient and modern, are arranged in the First and Second Print Rooms, and are frequently changed. The prints not on exhibition can be seen on application to the curator, who is in attendance on Tuesdays and Wednesdays. It is advisable, however, to apply for an appointment, either personally or by letter, at least one week in advance. This is suggested for the convenience of visitors. The rules governing the Gray Collection requiring that no one but the curator be allowed to handle the prints, he must give personal attention to each visitor, and must, therefore, have time to arrange appointments so that they may not interfere with one another. Persons specially interested in prints are requested to send their names and addresses to the curator, so that they may be notified of the opening of exhibitions, new acquisitions, etc. Address all communications to The Curator of the Print Department, Museum of Fine Arts, Boston, Mass. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.