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Portfolios%20%3D%20%22363%22%20and%20Disp_Obj_Type%20%3D%20%22Print%22%20and%20Sort_Artist%20%3D%20%22Rijn,%20Rembrandt%20Harmensz.%20van%22
Print
Landscape with Cottage and Hay-barn
Rembrandt Harmensz. van Rijn, (Leiden, 1606 - 1669, Amsterdam)
Rijn, Rembrandt Harmensz. van
Netherlands
1606 - 1669
Male
5 5/16 x 12 13/16 in. (13.5 x 32.5 cm)
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plate
horizontal
image
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sheet
sheet
Printer's ink
Printer's ink
1641
1641
1641
1600-1800, 17th century, barns, drypoint, etchings, landscapes
Print
Although Rembrandt is best known for his portraits and biblical scenes, he also excelled as a landscape artist. In this etching, his dexterous attention to detail in the close-up view of this remote cottage and haybarn is visually reinforced by the contrasting hazy, distant portrayal of the surrounding landscape. The city of Amsterdam, identifiable by its church towers, appears at a far distance in the left background. On the right side of the etching, Rembrandt has included an image of the Castle Kostverloren, a well-known landmark along the Amstel River. Although both the city and the castle would have been easily recognized by the artist’s contemporaries, neither can be seen from a single viewpoint. As was often the case with Dutch landscape artists during the 1600s, here Rembrandt created an imaginary setting for the subject of his etching, but one composed of sites that would have been familiar to his audience.
[Gallery label text]
lower right, in image, in the plate, partially cut off
1986.108
item
Memorial Art Gallery
2/4/2001
86.108SL1
slide
full
2 x 2
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glossy
8x10
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negative
4x5
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86.108DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/86.108_A1.jpg
Print
The Goldweigher's Field
Rembrandt Harmensz. van Rijn, (Leiden, 1606 - 1669, Amsterdam)
Rijn, Rembrandt Harmensz. van
Netherlands
1606 - 1669
Male
4 13/16 x 12 5/8 in. (12.2 x 32.1 cm)
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sheet
sheet
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overall
frame
Printer's ink
Printer's ink
1651
1651
1651
1600-1800, 17th century, drypoint, etchings, landscapes
Print
This landscape is of a real place: the city of Haarlem with the spire of the Grootekerk can be seen at the left and the church tower of Bloemendaal is in the right middle ground. Rembrandt has subtly manipulated the scene into a carefully composed and extended horizontal panorama. He uses diagonal lines to indicate divisions in the fields. Horizontal lines showing property divisions and the woods also serve to slow the viewer’s gaze. The addition of drypoint, or lines scratched in the plate without the use of acid, heightens the contrast between light and shadow.
The title for this print comes from the author of a 1751 catalogue of Rembrandt’s prints. He mistook this landscape for the property of the goldweigher, the Receiver General Jan Uytenbogaert, who was the subject of one of Rembrandt’s portraits. The Goldweigher’s Field actually shows the estate of the merchant Christoffel Thijs, who sold Rembrandt his house in 1639 and to whom Rembrandt was in debt.
[Label text from It Came From the Vault exhibition, 2013]
lower left, in the image, in the plate, A crown over an indistinct snaking motif
1987.63
item
Memorial Art Gallery
6/6/2001
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4x5
00/00/00
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87.63DI1
digital image
8x10
00/00/00
http://127.0.0.1:5000/Media/images/87.63_A1.jpg
87.63DI#2
digital image
2/13/2013
http://127.0.0.1:5000/Media/images/87.63_A2.jpg