Jan Asselyn, Painter (Krabbeje)

In representing fellow painter, Jan Asselyn (ca.1615–1652), Rembrandt combined both a formal depiction and an indication of the sitter’s profession. Asselyn stands confidently, dressed in the attire of a successful man. Though he is not dressed to paint, Asselyn stands near the tools of his trade—a desk holding a palette and brushes—emphasizing his identification as an artist. In the first state this etching included an easel and painting in the background, which Rembrandt removed in the second state. For this impression, Rembrandt experimented with a thick absorbent piece of Japanese paper and left a transparent layer of ink across the entire palette, giving the portrait a delicate, silvery tone that softened the light and lent a luminosity to the print.

Rembrandt likely used this specific pose to conceal the sitter’s crippled hand on his hip. The foreshortened view of this arm, along with its ruffled cuff and clutched fabric, was intended to hide what many at the time considered a deformity.