The large Lion Hunt

Hunting prints are part of a long artistic tradition. Since antiquity hunting scenes have been part of noble decorations, in frescoes, and later in panel paintings and tapestries. In the 16th century, depictions of all forms of hunting, stalking, fowling and trapping became popular through series of prints by Philips Galle, Adriaan Collaert, Antonio Tempesta, amongst others, and the large engravings after paintings by Rubens. Rembrandt only depicted the subject in three prints and one painting, all dedicated to the lion hunt, known as the ‘Sport of Kings’, with a history stretching back to ancient Mesopotamia. The present work is the largest of his three graphic interpretations. The extreme sketchiness must have been intended to convey the excitement and chaos of the hunt rather than an accurate depiction of the deadly encounter. The overall lightness of the print has the precious quality of a silverpoint drawing, but the immediacy of an ink sketch. Ger Luijten described the scene perfectly: ‘Rembrandt's prime aim was to suggest swift movement and to depict the lion-hunters' strength and heroism. He showed blithe disregard for anatomical anomalies, as in the horses, the raised arm of the mounted swordsman or the foreshortened leg of the spear-hurling central figure…Faces and horses' heads are rendered schematically. At the centre of the scene a horseman aims an arrow at the scrawny lion that speeds away, its tail flying aloft; another hunter plucks a fresh arrow from his quiver. It is impossible to ascertain who despatched the arrows in the left foreground that have missed their target and hover forever in the air. Precision was not the artist's goal; what mattered was evoking the spectacle.’ (in: Hinterding, 2000, p. 189-190)
The present example is a beautifully atmospheric impression, with much tone and plate texture.