32
32
Rembrandt Harmensz. van Rijn
CHRIST CRUCIFIED BETWEEN TWO THIEVES: 'THE THREE CROSSES' (B., HOLL. 78; H. 270; BB. 53-A)
Schätzung
200.000300.000
Los Verkauft 218,500 GBP (Hammerpreis mit Käuferprovision)
ZU LOS SPRINGEN
32
Rembrandt Harmensz. van Rijn
CHRIST CRUCIFIED BETWEEN TWO THIEVES: 'THE THREE CROSSES' (B., HOLL. 78; H. 270; BB. 53-A)
Schätzung
200.000300.000
Los Verkauft 218,500 GBP (Hammerpreis mit Käuferprovision)
ZU LOS SPRINGEN

Old Master, Modern & Contemporary Prints

|
London

Rembrandt Harmensz. van Rijn
1606 - 1669
CHRIST CRUCIFIED BETWEEN TWO THIEVES: 'THE THREE CROSSES' (B., HOLL. 78; H. 270; BB. 53-A)
Drypoint, 1653, a fine impression of the fourth state (of five), printing with rich burr, creating a dramatic and tonal contrast
Sheet: 388 by 452mm; 15¼ by 17¾in
Zustandsbericht lesen Zustandsbericht lesen

Provenienz

Ex coll. Johann Sigmund Bermann (L. 235)

Literatur

Erik Hinterding, Ger Luijten and Martin Royalton-Kisch, Rembrandt the Printmaker, London, 2000, pp. 297-304

Katalognotizen

Rembrandt's Three Crosses rivals the impact of a painting through its subject matter and grand scale. It is often singled out as the masterpiece of his printed oeuvre.

Executed almost exclusively in drypoint, the work displays Rembrandt's sensitivity and dexterity to the medium. Realising the fragility of the drypoint technique, he knowingly printed a small edition which increased the rarity of each impression pulled. The printing plate was worked with enormous care and Rembrandt experimented with different inking effects to achieve different tonalities.

He created extraordinary results through the single use of this medium, with the drypoint lines creating an overall rich, velvety effect, for which this print is renowned. The sophisticated spectrum of tones and volumes in the composition was unparalleled at the time.

The fourth state (of five) is one of the most exciting states of this subject. This particular state differs drastically to the previous three states and was even thought to be a different plate until late in the eighteenth century. Rembrandt's use of a dense network of lines and sparser use of light imbues the present impression with a more dramatic and imposing atmosphere, as well as diverting attention from the remains of previous states. 

As well as illustrating the virtuosity of Rembrandt's technical skills, the work also demonstrates his ability to capture emotional intensity in his subjects. Here, he chose to illustrate the moment of Christ just before his death on the cross, capturing his physical anguish and pain through the expression on his face. 

Old Master, Modern & Contemporary Prints

|
London