The Pinakothek der Moderne celebrates Rembrandt’s 400th birthday
He died unknown and in poverty. But today, Dutch master Rembrandt is considered one of the greatest European artists in history. To mark the 400th anniversary of his birth, the Staatliche Graphische Sammlung (State Collection of Graphic Art) is putting together an extensive exhibition of this great master’s etchings, at the Pinakothek der Moderne in Maxvorstadt.
Etchings, did you say? Yes. This 17th-century painter, draftsman and engraver created a treasure trove of etchings, which are widely regarded as some of his best works. Indeed, it was Rembrandt’s exquisite prints—produced with a simple needle and copper plate—and not his paintings, that were responsible for his international fame. Throughout Europe, his etchings have been collected and consistently admired over time.
These works are as descriptive and as rich in detail as the artist’s paintings. Yet whereas his paintings are marked by the classic chiaroscuro (with its stark contrasts), his etchings have a much lighter quality to them. Especially telling are his etched self-portraits, with every line, wrinkle and emotion of the man quite visible to the eye.
Rembrandt developed his unique etching technique as a result of relentless experimentation—and it was this desire constantly to push the limits that earned him the high regard of his fellow artists. For years, other printmakers tried to follow his lead by attempting to coax more out of their works, using a variety of different materials and processes. But Rembrandt seemed to be unbeatable when it came to ingenuity and style and, in this sense, his etchings have remained a source of inspiration for numerous artists over the years, including Goya and Picasso.
Rembrandt’s genius as an etcher lay in his talent as a consummate draftsman. Using the etching needle like a paintbrush or pen, Rembrandt created cursory, flowing lines. He went beyond the traditional “drawing” system of hatching and cross-hatching, instead employing every conceivable sort of technique to create nuances of texture and tone.
The exhibition on display in Munich this month provides a representative cross section of the artist’s etchings. His experimental approach can be traced in his self-portraits, allegories, book illustrations, genre scenes, nudes, landscapes and portraits on display. In total, 40 of Rembrandt’s 290 etchings—among them some of his most famos works—can be seen here, some of which are his most famous works.
Born “Rembrandt van Rijn” in 1606 in Leyden, The Netherlands, as the son of a miller and a baker’s daughter, the young artist’s first name was so unusual that he could use it to sign his paintings, without there being any danger of him being confused with anyone else. His natural talents were honed during his two apprenticeships. The first was under the painter Jacob van Swanenburgh in Leyden in the early 1620s, and the second, with Pieter Lastman in Amsterdam. In 1625, he then began work as an independent painter in Leyden, sharing a workshop with Jan Lievens. Around this time Rembrandt is believed to have started experimenting with etching. Later, he moved back to Amsterdam, where he spent the rest of his life earning his living as a portrait painter. Indeed, portraits were, at the time, very much in demand among the patrician classes. He continued to etch throughout the years, even during his eventual decline in popularity as a portraitist in the 1640s. The loss of portrait work led to financial problems and to an eventual bankruptcy and sale of his house and collection of artwork. As a result, Rembrandt was almost forgotten and in poverty when he died in Amsterdam in 1669—a situation which is a far cry from his renown some 400 years later as one of the greatest artists in European history. But don’t take anyone’s word for it. Stop by and see for yourself…
