MATERIAL INFINITY
With Rembrandt, the spiritual and the unfathomable are always embodied. It is by working the copper, animating the etching needle, varying the papers, and accumulating layers of ink that Rembrandt succeeds in opening a window onto the infinity of the human soul and the sacred.
Narration is contemplation.
Selfportrait with Saskia, 1636
(New Hollstein 158 iii/iv)
Nude Woman on a Mound, c. 1631
(New Hollstein 88 ii/ii)
Beggar Leaning against a Bank, 1630
(New Holl. 48 i/iii) counter-proof
Study sheet (fragment), 1632
(New Hollstein 115 ii/ii)
Portrait of a Young Man, 1630-1632
(Hollstein Dutch 33)
Beggars Standing Facing Left, c. 1630
(New Holl. 46)
Jan Uytenbogaert, Preacher of the Remonstrants, 1635
(New Holl. 153 iv/ix)
The Beheading of Saint John the Baptist, 1640 (New Holl. 183 i/iii)
The Small Lion Hunt, c. 1629
(New Hollstein 28 ii/ii)
Bust of a Young Man, c. 1630-1602
(New Hollstein 34 i/v)
Beggars Sitting Warming Their Hands, c. 1630 (New Hollstein 44 ii/ii)
Family in a Room, c. 1645
(Holl. 4)
Bust of an Oriental Wearing a Fur Hat, 1628-1632 (Hollstein Dutch 30 iii/iv)
Gideon’s Offering, c. 1640
(Holl. Dutch 2 v/v)
Woman with Cap and Fur Collar, 1630
(New Holl. 58 ii/ii)
Saint Jerome, 1631-1636
(Holl. 15 iii/v)
The Card Player and Death, after 1638
(Dutuit 11)
The Cook Woman, 1635
(New Hollstein ii/vii)
Jupiter and Antiope, 1631
(New Holl. 78 ii/ii)
Heads of Saskia and others, 1636
(New Holl. 157 i/ii) on pearled paper
The Messenger, c. 1640
(Hollstein Dutch 4 ii/ii)
Portrait of a Young Woman, 1625-1632
(Hollstein Dutch 45)
Man Shouting, Bust, c. 1629
(New Holl. 33 vii/vii)
Lutma, 1656
(New Hollstein 293 iii/v)
Christ among the Doctors, 1630
(New Holl. 66 iv-v/vii)
