Skip to main content

Lines of Inquiry: Learning from Rembrandt's Etchings


Allen Memorial Art Museum, Oberlin College, Oberlin, Ohio


February 6–May 13, 2018

Treasured for their technical innovation and perceptive portrayal of the human psyche, Rembrandt’s etchings in university and college art collections in the United States have long inspired curatorial research, technical investigation, and multidisciplinary teaching approaches. This exhibition examines the scope and the subtlety of Rembrandt as a printmaker who employed a wide range of subject matter, processes, and materials. Etchings by the 17th-century Dutch master are presented through the lenses of connoisseurship, scholarly and public reception, and the history of collection-building, as well as technical and scientific approaches, such as the analysis of watermarks in the paper on which the etchings were printed.



Rembrandt Harmensz. van Rijn (Dutch, 1606–1669), "Self-Portrait Leaning on a Stone Sill," showing Basilisk watermark, 1639. Etching, with touches of drypoint; retouched in black chalk. Collection of Yale University Art Gallery. Transmitted light photograph courtesy of Theresa Fairbanks-Harris.
Organized in conjunction with Cornell University’s Herbert F. Johnson Museum of Art,
Lines of Inquiry: Learning from Rembrandt’s Etchings includes stellar impressions of Rembrandt’s etchings on loan from Cornell, Harvard, Princeton, Vassar, Syracuse, Yale, the University of Kansas, the Morgan Library & Museum, and private collections.


 

 Christ Healing the Sick,
Oberlin

The exhibition is curated jointly by Oberlin’s Curator of European and American Art Andaleeb Badiee Banta and Andrew C. Weislogel, the Seymour R. Askin, Jr. ’47 Curator of Earlier European and American Art at Cornell.


 Rembrandt Harmensz. van Rijn (Dutch, 1606–1669), Jan Six, 1647. Etching, engraving, and drypoint. Collection of the Frances Lehman Loeb Art Center, Vassar College.

The accompanying catalogue presents new research on initiatives that examine the enduring status of Rembrandt as a printmaker and the multivalent nature of his works. It includes an overview of the history of Rembrandt prints in American academic collections, a documented account of the Allen Memorial Art Museum's secret guardianship of the Morgan Library & Museum’s collection of Rembrandt etchings during World War II, and an introduction to Cornell University’s Watermark Identification in Rembrandt Etchings (WIRE) project, which is dedicated to digitally facilitating access to Rembrandt watermark scholarship.



Rembrandt van Rijn (1606-1669), Woman Sitting Half-Dressed Beside a Stove, 1658
Johnson Museum of Art, Ithaca

Comments

Post a Comment

Popular posts from this blog

Vatican Micromosaic of Saints Valeria and Martial, Rediscovered Masterpiece

Vatican Micromosaic of Saints Valeria and Martial Everyone loves a good story. In the realm of fine art and antiques, a good story, or what we call “provenance”, has the power to take a work of art from exceptional to awe-inspiring. In terms of workmanship, subject matter and sheer size, this incredible micromosaic detailing the Biblical story of Saints Valeria and Martial has it all. Measuring over 10 feet tall, the precision and detail required to execute such a piece is baffling. Combined with the high cost of materials, micromosaics of this immense size and artistry are beyond rare. When you factor in its provenance of being crafted by the prestigious Vatican’s Mosaic Studio and displayed in St. Peter’s Basilica, you’re dealing with an undeniable masterpiece of historical significance. It took a team of seven skilled mosaicists over two and a half years to complete this majestic masterpiece. Given that Vatican relics, especially ones on such a grand scale as this, almost never lea...
Post a Comment
Read more

Klimt and Schiele: Drawn

Museum of Fine Arts, Boston February 25 through May 28, 2018 Marking the centenary of the deaths of Gustav Klimt (1862–1918) and Egon Schiele (1890–1918), the Museum of Fine Arts, Boston (MFA), presents a special exhibition of drawings on loan from the Albertina Museum in Vienna. Klimt and Schiele: Drawn , on view from February 25 through May 28, 2018 in the Lois B. and Michael K. Torf Gallery, examines the separate, yet parallel experiences of the acclaimed Austrian modernists, as well as the compelling ways in which their work relates—particularly in their provocative depictions of the human body. Organized thematically, the selection of 60 works on paper extends from the artists’ early draftsmanship to explore how each shifted away from traditional training to more incisive and unconventional explorations of humanity over the course of their careers. The MFA is one of three museums—and the only U.S. venue—hosting exhibitions of the Albertina’s rarely loaned drawings b...
Post a Comment
Read more

COLOURS OF IMPRESSIONISM MASTERPIECES FROM THE MUSÉE D'ORSAY

Art Gallery of South Australia, Adelaide    29 March-29 July 2018 More than 65 Impressionist masterpieces from the renowned collection of the Musée d’Orsay in Paris feature in a major exhibition at the Art Gallery of South Australia. Colours of Impressionism: Masterpieces from the Musée d’Orsay charts the revolution of colour that lies at the very heart of Impressionism and includes master works by Monet, Renoir, Manet, Morisot, Pissarro and Cézanne, among many others. From the dark tones of Manet's Spanish-influenced paintings, to the rich green and blue hues of the French countryside as painted by Cézanne, Monet and Pissarro, to the rosy pigments of Renoir's and Morisot's female figures, the exhibition traces the development of colour in the Impressionists' radical reshaping of painting in the nineteenth century. Boat In The Flood At Port-Marly by Alfred Sisley (1876   Although brightening the palette was the main concern of future Impressionists from the outs...
Post a Comment
Read more