The University of Arizona Museum of Art and Archive of Visual Arts

Rembrandt van Rijn

Abraham's Sacrifice, Rembrandt van Rijn, 1655, Museum Purchase with funds provided by  the Edward J. Gallagher, Jr. Memorial Fund
Christ Seated Disputing with the Doctors, Rembrandt van Rijn, 1654, Gift of C. Leonard Pfeiffer
The Baptism of the Eunuch, Rembrandt van Rijn, 1641, Gift of Mrs. Elizabeth Crozer Campbell
Seated Female Nude, Rembrandt van Rijn, c. 1631, Gift of Dr. and Mrs. Stanley H. Schneider
Rest on the Flight, Rembrandt van Rijn, 1645, Gift of Mr. Stanley Schneider
Rest on the Flight, Rembrandt van Rijn, 1645, Gift of Mr. Stanley Schneider
Abraham Francen, Rembrandt van Rijn, c. 1657, Gift of Mr. Peter Licavoli
Christ Preaching ("La Petite Tombe"), Rembrandt van Rijn, c. 1652, Gift of Mr. Peter Licavoli
The Descent from the Cross, Rembrandt van Rijn, 1633, Museum Purchase with funds provided by  the Edward J. Gallagher, Jr. Memorial Fund
The First Oriental Head, Rembrandt van Rijn, 1635, Gift of University of Arizona  Department of Art
The Ship of Fortune, Rembrandt van Rijn, 1633, Museum Purchase with funds provided by  the Edward J. Gallagher, Jr. Memorial Fund
The Star of Kings: A Night Piece, Rembrandt van Rijn, c. 1651, Museum Purchase with funds provided by  the Edward J. Gallagher, Jr. Memorial Fund
The Descent from the Cross by Torchlight, Rembrandt van Rijn, 1654, Museum Purchase with funds provided by  the Edward J. Gallagher, Jr. Memorial Fund
Jan Asselyn, Painter, Rembrandt van Rijn, c. 1647, Gift of Bill & Ann Buckmaster

In celebration of the 400th anniversary of the birth of the Dutch master Rembrandt van Rijn (1606-1669), UAMA is pleased to highlight the artist’s etchings in the Museum’s permanent collections.

The first Rembrandt print to enter the UAMA collections was Christ Seated Disputing with the Doctors, given to the museum by C. Leonard Pfeiffer in 1946. The most recent addition is Abraham’s Sacrifice, purchased in 2005 with funds from the Edward J. Gallagher, Jr. Memorial Fund.

The etchings in the UAMA collections demonstrate the range of the artist’s style and technique–from the sketch-like, almost purely linear construction of Christ Seated Disputing with the Doctors, to the intense tonality and use of chiaroscuro in Descent from the Cross by Torchlight.

Untrained as a printmaker, Rembrandt treated the etching needle like a paintbrush, thereby expanding the expressive and aesthetic possibilities of the medium.

Thus, on seeing Rembrandt’s prints, the Italian painter Guercino wrote in 1660: “I frankly consider him to be a great virtuoso.”

About Rembrandt

Born in Leiden in 1606, Rembrandt van Rijn (1606-1669) studied in Leiden and Amsterdam before setting up his own studio. In 1632, after moving permanently to Amsterdam, the artist began signing his works with his first name alone, boldly imitating the great Italian artists Leonardo, Michelangelo and Titian.

Rembrandt enjoyed fame throughout Europe during his lifetime for his mastery in painting, etching and drawing, and for his innovative treatment of a wide range of subjects–including biblical and secular history, mythology, landscapes, portraits, nudes, still lifes, allegories, and genre scenes.

The artist’s etchings established his renown in large part, and many scholars assert that his skill in the medium has never been surpassed. Rembrandt’s first known etching dates to 1628; he completed nearly 300 etchings during his lifetime.