- New
Peasant Family on the Tramp
| Reference: | S50152 |
| Author | Harmensz van Rijn detto REMBRANDT |
| Year: | 1652 ca. |
| Measures: | 95 x 115 mm |
€8,000.00
- New
| Reference: | S50152 |
| Author | Harmensz van Rijn detto REMBRANDT |
| Year: | 1652 ca. |
| Measures: | 95 x 115 mm |
€8,000.00
Description
Peasant family on the tramp; Man in tall hat and rugged clothes, with pack on his back and stick in his left hand, holding the hand of a small child in his right, a woman carrying a baby on her back behind them, sketched peasant's head at right.
Etching, circa 1652, unsigned.
This example is in the second of three states described by Hollstein, after the correction of the bite marks on the man's backpack, hat, and belt, and before the addition of three short vertical lines to the backpack. On the right, superimposed on the man's cane, is a first, slightly incised version of his head and hat.
Rembrandt often depicted beggars and "cripples," such as this family of vagabonds wearing rather antiquated clothing for the time. The peasant woman, depicted with dignity, carries a child on her back, whose head is barely visible. The child, led by his father, resembles a brat. The dominant figure of the peasant himself appears determined, even defiant. A romantic myth about Rembrandt is that he engraved so many beggars—more than thirty in total—because he himself felt alienated from society. It's true that he once portrayed himself as a beggar, but he was more drawn to the expressive faces, tattered clothes, and rumpled gait of these "lowly" subjects. Unusually for the time, Rembrandt gave his beggars real emotions and individualized faces, apparently with the intent of eliciting compassion from his viewers.
A beautiful work, printed on thin laid paper without watermark, with margins, in perfect condition.
Bibliografia
The New Hollstein: Dutch and Flemish etchings, engravings and woodcuts 1450-1700 (266. II/III); Hind, A Catalogue of Rembrandt's Etchings; chronologically arranged and completely illustrated (259); White & Boon, Rembrandt's Etchings: An Illustrated Critical Catalogue (131 II).
Harmensz van Rijn detto REMBRANDT (Leida 1606 - Amsterdam 1669)
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Born in Leiden, Holland in 1606, Rembrandt studied with Jacob Isaacsz van Swanenburgh (1571-1638) and Pieter Lastman (1583-1633). By 1626 he was an independent painter, working in Leiden alongside Jan Lievens (1607-74), another pupil of Lastman.
In 1631 Rembrandt moved to Amsterdam where he painted portraits of wealthy merchants. Three years later, he married his first wife, Saskia, and by the end of the 1630s he had moved into a substantial house (now the Rembrandt House Museum). In 1642, the year Rembrandt completed The Nightwatch (Rijksmuseum, Amsterdam), Saskia died.
By 1649, Hendrikje Stoffels had become his housekeeper and partner. Both Saskia and Hendrikje Stoffels posed for many paintings and sketches, often appearing as Susannah, Diana, Flora, Artemisa and other classical or Biblical figures. Rembrandt, however, was plagued by financial troubles and in 1656 his assets were made over to the courts, and many were sold. With his wife and son in financial control, Rembrandt continued to paint. Hendrikje died in 1663, his son Titus in 1668 and Rembrandt himself in 1669.
In his drawings, etchings and paintings, Rembrandt treated every subject: histories, landscapes, portraits, self-portraits, everyday scenes or sketches from nature. Rembrandt's biographer, Cornelis de Bie, praised his paintings, 'which enlighten every mind', and his etchings which are 'the very soul of life that lives therein'.
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Harmensz van Rijn detto REMBRANDT (Leida 1606 - Amsterdam 1669)
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Born in Leiden, Holland in 1606, Rembrandt studied with Jacob Isaacsz van Swanenburgh (1571-1638) and Pieter Lastman (1583-1633). By 1626 he was an independent painter, working in Leiden alongside Jan Lievens (1607-74), another pupil of Lastman.
In 1631 Rembrandt moved to Amsterdam where he painted portraits of wealthy merchants. Three years later, he married his first wife, Saskia, and by the end of the 1630s he had moved into a substantial house (now the Rembrandt House Museum). In 1642, the year Rembrandt completed The Nightwatch (Rijksmuseum, Amsterdam), Saskia died.
By 1649, Hendrikje Stoffels had become his housekeeper and partner. Both Saskia and Hendrikje Stoffels posed for many paintings and sketches, often appearing as Susannah, Diana, Flora, Artemisa and other classical or Biblical figures. Rembrandt, however, was plagued by financial troubles and in 1656 his assets were made over to the courts, and many were sold. With his wife and son in financial control, Rembrandt continued to paint. Hendrikje died in 1663, his son Titus in 1668 and Rembrandt himself in 1669.
In his drawings, etchings and paintings, Rembrandt treated every subject: histories, landscapes, portraits, self-portraits, everyday scenes or sketches from nature. Rembrandt's biographer, Cornelis de Bie, praised his paintings, 'which enlighten every mind', and his etchings which are 'the very soul of life that lives therein'.
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