Rembrandt van Rijn / Woman Bathing her Feet at a Brook / 1658Rembrandt van Rijn
Woman Bathing her Feet at a Brook

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Creator Name: Rembrandt Harmensz van Rijn
Creator Nationality: European; Dutch
Creator Role: Artist
Creator Dates/Places: 1606 - 1669
Gender: M
Creator Name-CRT: Rembrandt van Rijn
Title: Woman Bathing her Feet at a Brook
Title Type: Primary
View: Full View
Creation Start Date: 1658
Creation End Date: 1658
Creation Date: 1658
Object Type: Prints
Materials and Techniques: etching with drypoint and surface tone
Dimensions: Sheet: 15.9cm x 8.1cm, Platemark: 15.9cm x 7.9cm, Secondary Support: 20.9cm x 11.7cm
Inscriptions: upper left, in plate: Rembrandt f. 1658 ; SECONDARY SUPPORT, below image, in graphite: B No 200 ; lower right, in graphite: xx ; VERSO, lower center, in graphite: DTIKSSICM
AMICA Contributor: The Cleveland Museum of Art
Owner Location: Cleveland, Ohio, USA
ID Number: 1997.4
Credit Line: Leonard C. Hanna, Jr. Fund
Provenance: Duke of Devonshire, Chatsworth, Derbyshire, sold: Christie's, London, Dec. 5, 1985, lot 182, repr.. sold: Sotheby's, New York, May 3-4, 1996, lot 130, repr.. purchased from (C. G. Boerner, Inc., New York)
Context: One of the most important painters of the 17th century, Rembrandt was also innovative and influential as a printmaker. In his hands, etching was not only a method for producing images in multiples, it was also another creative activity. He experimented continuously, fully exploiting the varied effects that resulted from inking and wiping the etching plate in different ways and printing on a variety of papers. By manipulating the process, a single plate could yield a great range of results.Since the majority of Rembrandt's works are portraits or depictions of biblical and mythological subjects, figures are prominent in his imagery. He focused on the nude in drawings and etchings during three periods in his career: at the beginning, in 1631; in 1646; and finally, from 1654 to 1661. Woman Bathing Her Feet in a Brook is a late work in which the experienced master concentrated on the subtle play of light and shadow over the female form. For this rare, early impression, Rembrandt carefully wiped the plate, leaving a thin layer of tone to unify the composition and enhance the effect of a fully rounded figure emerging from the shadowy background. The beige Japanese paper adds warmth and a special glow to her flesh. This beautiful print came from the holdings of the Duke of Devonshire at Chatsworth, one of the finest private collections of old master prints and drawings in the world.
AMICA ID: CMA_.1997.4
AMICA Library Year: 2000
Media Metadata Rights: Copyright, The Cleveland Museum of Art

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