Evening star., 1944-05-21

The exhibition of etchings and
drawings by Rembrandt, now and
until June Is, in the National Gal
lery of Art is of exceptional interest
and Importance, for rarely has such
a comprehensive collection Of works
by this master in these media been
assembled and placed on public
view. Many of the prints exhibited
are from the Lessing j. Rosenwald
collection, given to the National
Gallery of Art; others have come
as loans from various private col
Iections, among which mention
should be made of that of Mr..
Gordon Howell -Usticke of New
York. The drawings, which make
I'D the center section, or heart, of
this showing, were chiefly derived
from the collection of DR.. A. Ham,
ilton Rice of New York, the Widener
and Rosenwald collections yielding
certain notable additions.
Rembrandt was not only one of the
greatest Dutch painters, but one OF
the most accomplished craftsmen
and etchers the world has ever
known. Indeed, it Is only through
his drawings and prints, in con-
junction with his paintings, that
the full measure of his genius is
manifested and can be compre-
hended.
The current showing occupies the
large gallery of special exhibitions,
close by the gallerys entrance on
Constitution avenue and well
adapted for the purpose. The ex-
hibits are arranged chronologically
and by subject, which makes it pos
sible to trace through the years the
variations in and the development
of Rembrandt's art, which, how
ever, seems, Jove-like, to have
sprung full -fedged into being.
A Lifetime Span
First, according to this grouping,
may be seen and studied some of the
portraits etched in Rembrandt's
youth, and his preoccupation, even
then, in illustration of Biblical
scenes and subjects, to which,
throughout his life, he turned for
Inspiration. Then come examples
of his middle period" 1641-1652, to
which date back his etchings of
landscape. OF these, 10 of the known
81 aSe on view. Among these are
his world-famous Three Trees"
"Goldweigher's Field" and SKIS
Bridge" as well as smaller plates,
likewise replete with inspiration and
charm. The third period covers his
production in later years, to which
may be accredited some of his finest
etched portraits, such as those of
"Old Hearing" Jan Lutma" and
Clement de Jonghe," as well as
brilliant impressions of his we'll
known 'Crucifixion" and Christ
Presented to the People"
AS an etcher Rembrandt is still
technically unapproached. This is
the more remarkable when it is re-
membered that the art of etching
was, in his day, still young having
developed from engraving through
the need of simpler graphic
method and one allowing greater
freedom of expression. Yet it is
certain that every variety of etch-
ing technique known to etchers
today was known to him then, and
practiced with inimitable skill. Dur
ing his first period he employed
chiefly the etched and bitten line;
during his middle period dry point
was used to heighten effect; finally
m the third period, dry point, az
such was almost exclusively used
Thus 1t was that complete mastery
over material was attained together
with increased spontaneity. Away.
his line is firm, but significant, hi.
tools obedient to his hand and de.
sire, his imagery powerful.
Note In some of his portrait etch
ings his inimitable use of cross hatch
ing to secure transparency O
shadow; observe in other instance
the broadening and narrowing O
the bitten line to gain strength O
lessen emphasis. This is obviousl
instructive and cannot be taught.
Drat0ings Veil Placed
1t was an excellent idea to shoy
the drawings in the center of tn
exhibition, thus making them par
and parcel Of the whole, for afte
all etching is drawing, and drawin
is the structure on which all ar
which Is fine is built. Also thes
drawings, SO spontaneous and direct
tell us much Of the artist, and G
Rembrandt the man First of al
they witness to an enthusiasm O.
his part which was the drivin
power behind genius, a power in
escapable, without which he woul
not have gone on, as he did, de