Christ Preaching. The Hundred Guilder Print is an etching by Rembrandt.
The etching's popular name derives from the large sum of money supposedly once paid for an example. It is also called Christ healing the sick, Christ with the Sick around Him, Receiving Little Children, or Christ preaching, since the print depicts multiple events from Matthew 19, including Christ healing the sick, debating with scholars and calling on children to come to him.
The rich young man mentioned in the chapter is leaving through the gateway on the right. Rembrandt worked on the Hundred Guilder Print in stages throughout the 1640s, and it was the critical work in the middle of his career, from which his final etching style began to emerge.
He probably completed it in 1649. Although the print only survives in two states, the first very rare, evidence of much reworking can be seen underneath the final print and many drawings survive for elements of it. Wieseman describes the etching as a technical tour de force, incorporating an enormous diversity of printmaking styles and techniques: The group of figures at the left side of the print, for example, is deftly indicated with a minimum of lightly bitten lines; in contrast, the evocative richness of the blacks and the depth of tone in the right half of the print represents Rembrandt's experimental competition with the newly discovered mezzotint technique.
Around 1775, Capt
The etching's popular name derives from the large sum of money supposedly once paid for an example. It is also called Christ healing the sick, Christ with the Sick around Him, Receiving Little Children, or Christ preaching, since the print depicts multiple events from Matthew 19, including Christ healing the sick, debating with scholars and calling on children to come to him.
The rich young man mentioned in the chapter is leaving through the gateway on the right. Rembrandt worked on the Hundred Guilder Print in stages throughout the 1640s, and it was the critical work in the middle of his career, from which his final etching style began to emerge.
He probably completed it in 1649. Although the print only survives in two states, the first very rare, evidence of much reworking can be seen underneath the final print and many drawings survive for elements of it. Wieseman describes the etching as a technical tour de force, incorporating an enormous diversity of printmaking styles and techniques: The group of figures at the left side of the print, for example, is deftly indicated with a minimum of lightly bitten lines; in contrast, the evocative richness of the blacks and the depth of tone in the right half of the print represents Rembrandt's experimental competition with the newly discovered mezzotint technique.
Around 1775, Capt
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