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Lot Essay
This exquisite etching in an unusual oblong format stands at the beginning of Rembrandt's more experimental period as an etcher. His preoccupation with the depiction of light and darkness, and the use of descriptive lines versus shading, a constant concern throughout his career, leads to increasingly daring solutions throughout the 1650s and this is one of the first radical attempts. The sheet predates his two incomplete series of the Childhood and Youth of Christ (see lots 20, 21 and 25) and the Passion of Christ (see lot 32) by two years, but eclipses them in the bold use of the non-finito effect employed here. It is in this aspect a precursor to Christ appearing to the Apostles of 1656 (B. 89; New Holl. 296).
According to the Gospel of Luke, the Holy Family went to Jerusalem for Passover when Jesus was twelve years old. On their way back to Nazareth Mary and Joseph realised that their son was missing. After a search of three days, they returned and found him still in the temple, conversing with the elders, doing 'His Father’s business'.
'And when they had fulfilled the days, as they returned, the child Jesus tarried behind in Jerusalem; and Joseph and his mother knew not of it. But they, supposing him to have been in the company, went a day's journey; and they sought him among their kinsfolk and acquaintance. And when they found him not, they turned back again to Jerusalem, seeking him. And it came to pass, that after three days they found him in the temple, sitting in the midst of the doctors, both hearing them, and asking them questions. And all that heard him were astonished at his understanding and answers. And when they saw him, they were amazed...' (Luke 2:46)
Rembrandt had already illustrated the scene in a small plate in 1630 (B. 66; New Holl. 53) and returned to it one more time in 1654 (B. 64; New Holl. 281). The present depiction of the event is more ambitious, in size and execution, than both. The layout of the composition is presumably inspired by Lucas van Leyden's engraving Joseph interpreting Pharaoh's Dreams (B., Holl. 23), but Rembrandt's treatment is entirely different. His etching shows the young Jesus not seated, as in the narrative of the Gospel, but standing in half-profile towards the viewer. His figure is slightly isolated at the centre, as the focal point of the composition, with his face and gestures directed towards the elderly, bearded scholars seated at right, a step above the boy. At upper right, another group of scholars is leaning behind a balustrade, listening intently but also, it seems, with growing resentment. Behind Jesus, a larger group of listeners has gathered, who appear to support him or at least look at him in wonder. This crowd of onlookers is sketched rapidly, with the seated figure seen from behind at lower left drawn only in outline, while the scholars at right are more elaborately described and quite heavily shaded. The juxtaposition of unfinished and finished areas heightens the tension inherent in the situation, while metaphorically suggesting a clash between an old order and a new beginning.
By leaving many figures and parts of the architectural surroundings deliberately unfinished, Rembrandt lends a vibrancy and vivacity to the scene which give the viewer the fleeting impression of experiencing the event personally and in the moment. The use of drypoint, particularly prominent in this impression, creates dark accents which capture the attention of the beholder and thereby activate the entire picture plane.
Later impressions of the first state show some dark areas of corrosion across the upper plate edge. Amusingly, but also slightly tragically, in the 18th century a subsequent owner of the plate completely misunderstood Rembrandt's intentions and 'completed' it with the mezzotint rocker.
The provenance of this sheet, the Carlyon Family and Tomas Harris, speak for the quality of this particular impression.
According to the Gospel of Luke, the Holy Family went to Jerusalem for Passover when Jesus was twelve years old. On their way back to Nazareth Mary and Joseph realised that their son was missing. After a search of three days, they returned and found him still in the temple, conversing with the elders, doing 'His Father’s business'.
'And when they had fulfilled the days, as they returned, the child Jesus tarried behind in Jerusalem; and Joseph and his mother knew not of it. But they, supposing him to have been in the company, went a day's journey; and they sought him among their kinsfolk and acquaintance. And when they found him not, they turned back again to Jerusalem, seeking him. And it came to pass, that after three days they found him in the temple, sitting in the midst of the doctors, both hearing them, and asking them questions. And all that heard him were astonished at his understanding and answers. And when they saw him, they were amazed...' (Luke 2:46)
Rembrandt had already illustrated the scene in a small plate in 1630 (B. 66; New Holl. 53) and returned to it one more time in 1654 (B. 64; New Holl. 281). The present depiction of the event is more ambitious, in size and execution, than both. The layout of the composition is presumably inspired by Lucas van Leyden's engraving Joseph interpreting Pharaoh's Dreams (B., Holl. 23), but Rembrandt's treatment is entirely different. His etching shows the young Jesus not seated, as in the narrative of the Gospel, but standing in half-profile towards the viewer. His figure is slightly isolated at the centre, as the focal point of the composition, with his face and gestures directed towards the elderly, bearded scholars seated at right, a step above the boy. At upper right, another group of scholars is leaning behind a balustrade, listening intently but also, it seems, with growing resentment. Behind Jesus, a larger group of listeners has gathered, who appear to support him or at least look at him in wonder. This crowd of onlookers is sketched rapidly, with the seated figure seen from behind at lower left drawn only in outline, while the scholars at right are more elaborately described and quite heavily shaded. The juxtaposition of unfinished and finished areas heightens the tension inherent in the situation, while metaphorically suggesting a clash between an old order and a new beginning.
By leaving many figures and parts of the architectural surroundings deliberately unfinished, Rembrandt lends a vibrancy and vivacity to the scene which give the viewer the fleeting impression of experiencing the event personally and in the moment. The use of drypoint, particularly prominent in this impression, creates dark accents which capture the attention of the beholder and thereby activate the entire picture plane.
Later impressions of the first state show some dark areas of corrosion across the upper plate edge. Amusingly, but also slightly tragically, in the 18th century a subsequent owner of the plate completely misunderstood Rembrandt's intentions and 'completed' it with the mezzotint rocker.
The provenance of this sheet, the Carlyon Family and Tomas Harris, speak for the quality of this particular impression.