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REMBRANDT (REMBRANDT VAN RIJN). Christ Crucified between the Two Thieves: The Three Crosses

Christ Crucified between the Two Thieves: The Three Crosses. Artist: Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606-1669 Amsterdam). Dimensions: Plate: 15 x 17 1/4 in. (38.1 x 43.8 cm)
Sheet: 15 1/8 x 17 7/16 in. (38.4 x 44.3 cm)
Mount: 22 x 28 in. (55.9 x 71.1 cm). Date: 1653.
The Three Crosses, one of Rembrandt's finest works in any medium, represents the culmination of his virtuosity as a printmaker. He drew on the copperplate entirely in drypoint which allowed him to fully exploit the velvety areas of burr raised by the drypoint tool as it cut into the copper. When Rembrandt created this impression, he deliberately left ink on the printing plate; it lightly veils the figures standing at the foot of the cross on the right; a thicker layer almost completely covers the bushes along the right edge. By creatively inking the copperplate, Rembrandt in a certain sense painted each impression. Each time he printed the copperplate he created a unique work. He further varied impressions by printing them on different supports; this impression is printed on vellum, which infuses the composition with a warm light. Vellum, less absorbent than paper, holds ink on the surface, softening lines and enhancing the richness of entire effect.

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Auteur:

REMBRANDT (REMBRANDT VAN RIJN) (1606-1669)

Titre:

Christ Crucified between the Two Thieves: The Three Crosses

Légende: Voir la traduction automatique

Christ Crucified between the Two Thieves: The Three Crosses. Artist: Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606-1669 Amsterdam). Dimensions: Plate: 15 x 17 1/4 in. (38.1 x 43.8 cm) Sheet: 15 1/8 x 17 7/16 in. (38.4 x 44.3 cm) Mount: 22 x 28 in. (55.9 x 71.1 cm). Date: 1653. The Three Crosses, one of Rembrandt's finest works in any medium, represents the culmination of his virtuosity as a printmaker. He drew on the copperplate entirely in drypoint which allowed him to fully exploit the velvety areas of burr raised by the drypoint tool as it cut into the copper. When Rembrandt created this impression, he deliberately left ink on the printing plate; it lightly veils the figures standing at the foot of the cross on the right; a thicker layer almost completely covers the bushes along the right edge. By creatively inking the copperplate, Rembrandt in a certain sense painted each impression. Each time he printed the copperplate he created a unique work. He further varied impressions by printing them on different supports; this impression is printed on vellum, which infuses the composition with a warm light. Vellum, less absorbent than paper, holds ink on the surface, softening lines and enhancing the richness of entire effect.

Technique/matériel:

Drypoint printed on vellum

Musée:

Metropolitan Museum of Art, New York, USA

Crédit:

Album / Metropolitan Museum of Art, NY

Autorisations:

Modèle: Non - Propriété: Non
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Taille de l'image:

3985 x 3470 px | 39.6 MB

Taille d'impression:

33.7 x 29.4 cm | 13.3 x 11.6 in (300 dpi)

Mots clés:

ECRITURE PARCHEMINS • ECRITURE ROULEAU • EUROPE (CONTINENT) • FRAVURE • GRAVURE • METROPOLITAN MUSEUM OF ART, NEW YORK, USA • PARCHEMIN • PARCHEMINS • PAYS-BAS • POULIE • REMBRANDT (REMBRANDT VAN RIJN) • ROULEAU (MANUSCRIT) • ROULEAU D'ECRITURE • ROULEAU • ROULEAUX