The Swan Channel (1650) by Rembrandt Harmenszoon van RijnChâteau de Chantilly
Rembrandt to Chantilly
Thanks to Henri of Orléans, Duke of Aumale, Chantilly now has one of the finest collections of Rembrandt prints in France. The Duke of Aumale deeply admired Rembrandt's art.
It was especially in the 1860s, during his exile in England, that the donor of Chantilly to the Institut de France built up a fine collection of prints by the Dutch master.
Medea: or The Marriage of Jason and Creusa (1648) by Rembrandt Harmenszoon van RijnChâteau de Chantilly
The collection of Rembrandt's engravings at Chantilly includes figures of beggars and beggars, works from the artist's youth, as well as the most famous pieces from his maturity, landscapes, portraits, and an extraordinary religious scene, the most beautiful print known in the 19th century of The Hundred Guilders Print.
Self-portrait of Rembrandt at the age of thirty-four (XIXe siècle) by Rembrandt Harmenszoon van Rijn and UnknownChâteau de Chantilly
Who is Rembrandt?
Rembrandt (1606–1669) was a major figure of the Dutch school of the 17th century, renowned during the Golden Age for his paintings, drawings and engravings.
His work is characterized by the effects of light and shadow, by a treatment of light called chiaroscuro, that is to say, strong contrasts between light and dark areas.
Philosopher in Meditation (1642) by Rembrandt Harmenszoon van RijnChâteau de Chantilly
The etching technique
For his engravings, Rembrandt used the technique known as etching, a chemical engraving process.
A metal plate, often copper, is covered with a varnish on the face that will be engraved. The artist then sculpts his drawing there using tools with which he removes the varnish from the places that will contain the ink during printing.
This plaque is then immersed in a "biting" solution, such as an acid, hence the name "etching," which hollows out the etched areas. Depending on the metals, the depth of cuts and the acid solutions used, the print result will vary.
An old man seen from behind (1629) by Rembrandt Harmenszoon van RijnChâteau de Chantilly
This is chronologically the oldest engraving by Rembrandt preserved in Chantilly: it is a central fragment of a larger copper that Rembrandt signed, printed, then cut into several parts and redesigned.
The original engraving was a study sheet with male heads. The fragment catalogued here is the only one that shows a figure in three-quarter back view. It was the largest of the six studies included on the original copperplate.
Bearded Old Man, Looking down (1631) by Rembrandt Harmenszoon van RijnChâteau de Chantilly
When Rembrandt began to engrave, he used not only his own face, but also those of his parents. The artist often favored portraits of the elderly and made many drawings of bearded old men close to this engraving.
The artist has often favored portraits of old people and made many drawings of bearded old men close to this engraving.
Rembrandt's mother wearing a black veil (1631) by Rembrandt Harmenszoon van RijnChâteau de Chantilly
His mother, Cornélia van Zuytbroeck (c. 1568–1640), is shown here in widow's clothing after the death of her husband on April 23, 1630.
This portrait, executed around 1631, is probably the most successful he made of his mother as it paints old age with a picture of dignity and serenity, especially through the contrast of the dark veils on the white background.
Etching of Jan Cornelis Sylvius (1646) by Rembrandt Harmenszoon van RijnChâteau de Chantilly
Jan Cornelis Sylvius (1563/4–1638), preacher of the Reformed Church in Amsterdam, was the cousin and guardian of Saskia van Uylenburgh, who authorized her marriage to Rembrandt.
He was one of the most respected religious figures in Amsterdam.
The medallion composition, somewhat traditional, contrasts with Rembrandt's usual production, while offering beautiful details such as the right hand coming out of the frame that makes the link between the character and the spectator.
While the other is slipped into the Gospel, highlighted by the light.
Portrait of Jan Six (1647) by Rembrandt Harmenszoon van RijnChâteau de Chantilly
Very famous since the 17th century, this print was very quickly sought after by amateurs because of its impressive backlighting, of a great virtuosity of execution.
Jan Six (1618–1700) was a wealthy young man from a family of cloth merchants, who became a lawyer specializing in matrimonial affairs, and then an amateur poet.
Jan Six considered himself an intellectual and a poet, and it was probably he who wanted to be portrayed reading.
Jesus healing the sick, also known as as the Hundred Guilder Print (Vers 1648) by Rembrandt Harmenszoon van RijnChâteau de Chantilly
According to his contemporaries, Rembrandt reached the pinnacle of his art as an engraver around 1648 with the creation of Christ Healing the Sick, a print better known as The Hundred Guilders Print of which this extraordinary example is preserved in Chantilly.
This engraving shows Christ off-center, standing out against the wall, in the center of a play of light and shadow.
Indeed, the parts of the print that are barely sketched and therefore very clear, stand out against the entirely brown areas.
St. Jerome beside a Pollard Willow (1648) by Rembrandt Harmenszoon van RijnChâteau de Chantilly
This etching shows St. Jerome writing by a willow tree, but the man is ultimately of secondary importance in the composition.
The barely sketched figure of the saint contrasts with the more finished motif of the gnarled willow stump in the foreground.
It seems he reused a life study of a tree in this religious composition: perhaps the saint was only added later.
Landscape with a mill in the center (view of Dordrecht) (Non daté) by Rembrandt Harmenszoon van RijnChâteau de Chantilly
This landscape is probably the most beautiful drawing by Rembrandt kept in Chantilly. It represents Dordrecht, the oldest city in Holland.
Rembrandt does not seem to have stayed. Sometimes disputed, this drawing has been copied at least three times.
The country scene in the foreground is overloaded with thick pen strokes and a flat wash, i.e., diluted ink, which further darkens the landscape.
In contrast, the background is increasingly clear, as if the city were melting into the mist, with the sky left completely blank.
Country-fair with Two Charlatans (Entre 1646 et1680) by Constantin de RenesseChâteau de Chantilly
Engravings by Rembrandt's pupils or after Rembrandt
Rembrandt produced various preparatory sketches for his paintings, or for his teaching (he had a studio with many students), mostly in pen (or reed pen), and in his early days in black stone or red chalk.
Consequently, there are many copies and works inspired by his work, made by artists who came to train in his studio.
Standing model, hands folded in the back (Non daté) by Rembrandt Harmenszoon van RijnChâteau de Chantilly
Referred to by some as a study by Rembrandt for Christ at the Pillar, this wash does not show the artist's broad and generous gesture.
More careful and wise, it would be more likely a simple studio study after the living model.
Rembrandt welcomed many young artists into his studio and it is impossible to put a name to this sheet.
The Woman With A Pear (Entre 1636 et1680) by Ferdinand BolChâteau de Chantilly
Painter, engraver and designer, Ferdinand Bol (1616–1680) was one of Rembrandt's best pupils.
Some of his paintings have long been attributed to Rembrandt, who also sold works made by his student.
He executed this engraving several years after his time in the artist's studio.
Country-fair with Two Charlatans (Entre 1646 et1680) by Constantin de RenesseChâteau de Chantilly
Constantine of Renesse (1626–1680) settled in Breda with his family and was sent to the University of Leiden, where, in addition to his literary studies, he took drawing lessons from Rembrandt in 1649. He settled in Eindhoven in 1653, where he died in 1680. He made engravings and drawings on religious subjects.
The Night Watch (1866) by Johan Wilhelm Kaiser and Based on RembrandtChâteau de Chantilly
This modern engraving, acquired by the Duke of Aumale after 1866, reproduces the most famous and largest of Rembrandt's paintings, now in the Rijksmuseum in Amsterdam.
Its author, Johan Kaiser (1813–1900), was director of the engraving school in 1859 and later director of the Rijksmuseum.
Group portraits were common in the Netherlands in the 17th century, and it was customary for officers to be portrayed all together in large joint portraits that were placed on the walls of their meeting rooms. Everyone paid according to their place and rank in the overall composition.
A Polish Nobleman (XIXe siècle) by Rembrandt Harmenszoon van Rijn and UnknownChâteau de Chantilly
This 19th-century photograph reproduces a painting by Rembrandt in 1637 and purchased in 1768 by Catherine II of Russia.
It shows a man, whose identity is not certain, depicted in a three-quarter view with a luxurious headdress and costume.
His face is crossed by a thick moustache and is turned towards the viewer, whom he challenges with his gaze.
Self-portrait of Rembrandt at the age of thirty-four (XIXe siècle) by Rembrandt Harmenszoon van Rijn and UnknownChâteau de Chantilly
This photograph reproduces the famous Self-Portrait of Rembrandt signed and dated 1640 kept in the National Gallery in London.
In his heyday and eager to follow in the footsteps of the most prestigious artists of the past centuries, Rembrandt poses here in a costume dating from the 1520s and 1530s, probably in reference to 16th-century Italian works that were then in Amsterdam.
Self-portrait of Rembrandt at the age of thirty-four (XIXe siècle) by Rembrandt Harmenszoon van Rijn and UnknownChâteau de Chantilly
It is difficult to date the purchase of these two pictures by the Duke of Aumale: perhaps during his exile in England (1848–1871), when he hoped to buy the work, when it was still in private collection?
At that time, he was buying back major works kept in France to prevent them from going to England.
The Duke of Aumale, who has a strong taste for Rembrandt's engraved work, has chosen only prints of the highest quality.
Thus, this overview of his collection at Chantilly illustrates Rembrandt's genius, who engaged in infinite research, varying the effects of light and shadow, adding or subtracting details, and sometimes completely transforming his compositions. The great diversity in the choice of subject and composition underlines the ambition and ingenuity of the great Dutch master.
A virtual exhibition from the exhibition Rembrandt at the Condé Museum in Chantilly, organized at the Domaine de Chantilly, January 27–June 3, 2018. Curator: Nicole Garnier-Pelle, General Curator of Heritage, in charge of Condé Museum, assisted by Astrid Grange, assistant curator.
The texts are inspired by those in the catalog of the Rembrandt at the Condé Museum in Chantilly exhibition, curated by Nicole Garnier-Pelle and Jaco Rutgers, with the collaboration of Laurent Ferri, co-edited by Editions Faton and the Domaine de Chantilly, 2018.
Virtual exhibition designed by Clara Voiry.
Images ©RMN-Grand Palais domaine de Chantilly
For all orders, please contact www.photo.rmn.fr
