An elderly woman (Rembrandt’s mother, head and bust)
Etching and drypoint, 1628, B.354, state ii/II
Gift of Jean K. Weil in memory of Adolph Weil Jr., Class of 1935; PR.997.5.115
T. Barton Thurber, Curator of European Art
Rembrandt’s etchings are some of the most inventive and influential of all his works. He thought about printmaking in new ways, offering the viewer not only carefully finished masterpieces but also more roughly sketched glimpses into his artistic processes. From his years as a young artist in Leiden to the last etchings of his career, Rembrandt continued to devise solutions to the problem of depicting light and dark with printed line. The Hood Museum of Art’s collection of Rembrandt etchings spans his life’s work, providing an overview of his evolving ideas about printmaking throughout the course of thirty years.
Along with the donors whose works comprise the museum’s permanent collection, we would like to acknowledge the following lenders for kindly providing additional objects to this exhibition: the Museum of Fine Arts, Boston; Roger Arvid Anderson, Class of 1968; Robert and Karen Hoehn, P’2009; and Jean K. Weil in memory of Adolph Weil Jr., Class of 1935.
The exhibition will be accompanied by an illustrated brochure written by Stacey L. Sell, Ph.D., Assistant Curator of Old Master Drawings at the National Gallery of Art. The opening lecture will be presented on April 8th, 2006, “Rembrandt and the Reform of Etching,” by Mariët Westermann, Ph.D., Director of the Institute of Fine Arts at New York University. Prof. Simon Schama of Columbia University will deliver the Humanities Lecture on April 26th on “Not Going Gentle: Rembrandt and the Roughness of Age.”
Symposium Celebrating Rembrandt (22 April 2006)