Rembrandt van Rijn (1606 - 1669), is known in popular memory for his emotionally charged portraits as well as for paintings of historical, mythological, and religious subjects, which exemplify the heights of Baroque drama and narrative. He was also a consummate draftsman and skilled printmaker. At the Worcester Art Museum through February 19, an impressive survey of the artist’s etchings shows off Rembrant’s talents and offers audiences an opportunity to learn about the thrilling qualities of printmaking as an artform.

Rembrandt: Etchings from the Museum Boijmans Van Beuningen features some seventy works on paper by the exhibition’s titular artist as well as ancillary artworks by those who studied directly under him or found themselves in his circle. The Museum states that the exhibition is one of the largest focused on the artist’s etchings to visit the United States. A remarkable show in many respects, the exhibition is exciting for those interested in the history of the print as well as in the history of Dutch art. It also illustrates the way in which Rembrandt leveraged the power of the print to rise to the apex of popular culture in his own day.

A detail of Rembrandt’s *Christ Blessing the Children and Healing the Sick*, from about 1648.

One of the throughlines found in many of the pieces on view in the exhibition is Rembrandt’s keen sense of draftsmanship. His drawing skills naturally come across in his printmaking and even the subtlest of images bears this out. In some of the prints, tiny landscapes with minute figures read as larger vistas and in others the personalities of sitters are captured by Rembrandt’s distinctive portraiture. Close-looking unveils the artist’s facile hand and refined use of line and cross-hatching to create illusionistic and complex images.

Rembrandt’s *Landscape with Square Tower*, from 1650. A shaped plate gives this print its undulating edge.

Recurring favorites are found in multiple richly inked and dark prints. One can imagine the ways in which the candle-lit murk of the Dutch seventeenth century impacted Rembrandt’s way of making images and nocturnes or sparsely lit interiors are some of the exhibition’s most enthralling examples of what printmaking can do in the hands of a great practitioner.

A 1642 etching of *Saint Jerome in a Dark Chamber* shows off Rembrandt’s mastery of light and dark.

Another of the assets of this exhibition is its underlying focus on technique. With so many examples of work on display, the show also includes paper samples, explanations of tools and printmaking methods, as well as plates. A central space in the show is dedicated to the steps of making prints, which will give even a consummate print-lover things to consider. For those who are newer to etchings or to printmaking in general, this aspect of the show will provide a new appreciation for the uniqueness of prints. In their own day and now, these artworks are sometimes wrongly considered secondary to painting or sculpture.

A central component of the exhibition highlights the tools and techniques behind the prints on view.

While he is rightly renowned for his skills as a painter, the sensitivity of Rembrant as a person does not lose any of its impact in the etchings presented in this show. Frail and thoroughly human bodies, full of fleshy corporealness, come up again and again in Rembrandt’s work and they are present here. Faces that bear the deep lines of laughter and tears are also present and bring viewers nose-to-nose with their long-dead counterparts. To look at these prints is to be confronted with human experience in all of its rich complexity.

An image of a *Head of a Bald Man Right*, dated 1630, exemplifies Rembrandt’s sensitivity to the human experience.

For those who love Rembrant, Etchings from the Museum Boijmans Van Beuningen will reassure them of Rembrandt’s distinctive voice and impressive expertise as an image-maker. For those who are new to the Baroque, to printmaking, or to Rembrandt, the show has the potential to be revelatory. Either way, it is a joy to be immersed in the world of Rembrandt’s masterful etchings.

Rembrandt: Etchings from the Museum Boijmans Van Beuningen is on view at the Worcester Art Museum through February 19, 2024. The Museum is located at 55 Salisbury Street in Worcester and is open Wednesdays through Sundays from 10am - 4pm. Learn more at www.worcesterart.org. See additional views of the show below.

In the early 2000’s the British singer Kate Nash had a song which began “Simply knowing you exist ain’t good enough for me.” The same can be said for art. It simply is not enough to know an artwork is out there somewhere. Art must be seen close up to be fully appreciated. In a world sodden with digital media, the quest to view art in person is a virtue, but developing virtual connoisseurship skills is a necessity and learning to love art we have not yet seen is something to aspire to. In the new Netflix series This Is a Robbery, the infamous theft of artworks at the Isabella Stewart Gardner Museum highlights one painting in particular that is easy to love without seeing. Considering this lost object, we might learn something about how to look at art anew.

Rembrandt van Rijn’s 1633 painting Christ in the Storm on the Sea of Galilee was one of the dozen plus artworks stolen from the Gardner in the notorious 1990 heist. If you are interested in the investigation surrounding this event, Netflix’s new This is a Robbery does an excellent job of outlining key facts, identifying the potential thieves, and detailing the crime with the storytelling of a police procedural. While tempting, it is difficult to highlight any of the stolen artworks as the most important of the lot because they were all significant for different reasons. Of all the missing works, though, Rembrandt’s seascape is in many ways the most beguiling.

Rembrandt Harmens van Rijn, Christ in The Storm on the Sea of Galilee, 1633, Isabella Stewart Gardner Museum — Rembrandt Harmens van Rijn, *Christ in The Storm on the Sea of Galilee*, 1633, Isabella Stewart Gardner Museum

Although we cannot view the painting now, as it disappeared three decades ago, it is easy to see its intrinsic qualities. Though in all likelihood Rembrandt’s depiction of Christ is moldering away in some mafia don’s basement, it is possible to know and to love, even in absentia. Moreover, the strategy in developing an eye for such absent artwork is transferable. As contemporary viewers, we are increasingly faced with digital versions of plastic arts that remain effectively unseen to us. Training the skills of looking is a necessary practice and by looking closely at this missing Rembrandt through archival photographs it is possible to relearn how to look at all art in the virtual world.

In the Gardner painting, a swelling wave raises up to heave a small vessel filled with Jesus Christ and his tempest-tossed followers. The result is an angular composition which naturally draws our eye across the scene in an exciting way. We are invited to peer into the boat as terror sweeps through the crew of Apostles. In the snapshot the painting captures, Christ is caught in the moment of being awakened. This prompts him to question the faith of his followers. It is the apex of the drama. In the ensuing moments, Christ quells the sea and saves his friends. It is a well-known parable, so the imagery is itself a reminder of the importance of faith rather than a narrative cliffhanger. A devout Christian viewer of this picture would know that all ends well in this stormy sea and would read it as an admonishment to trust in God.

Other elements of the canvas go beyond the illustrative or theological and towards the sensory. We can feel the salt spray splashing across the creaking deck. We can hear the wet slap of the flailing sails against the mast, which glistens in a shaft of light that breaks through the bleak all-encompassing sky. The howling wind is so real that it chills our bones in the same way it impacts the Church Fathers, who run too and fro in futile attempts to secure the vessel or can be seen to kneel in prayer for salvation.

So, through the image we do have of the painting, taken before its hasty departure from the Gardner, we can learn the basics of its composition and the elements of its value. But how can we deepen that knowledge and how can we enrich our appreciation for this lost masterpiece?

Looking at the many other extant paintings by the Dutch master, one can develop a sense for his technical bravura, including his handling of paint. Without seeing this specific painting, one can imagine the thick impasto of the northern Baroque and the richly painted seascape veiled with tones of brown and gold. With this information in hand, we as viewers can easily imagine the textures of this lost painting and find an appreciation for a great work of art in spite of the fact that many of us were not able to see it before it was yanked from its frame.

Looking at Rembrandt’s numerous examples of self-portraiture, one can also find the face of the artist in this scene. The artist is depicted as the lone character to stare directly out into our space, to encounter us, and to invite us into the action with his gaze. Through looking at other Rembrandts we can learn the language of his pudgy and expressive face and recognize it again here. He becomes a stabilizing influence, an old friend in a lost ship.

Detail in which Rembrandt’s self-portrait appears at left, bookend by Christ. In between the two an Apostle heaves overboard while another kneels to pray for the storm to cease.

Through an appreciation for Rembrandt’s larger body of work, too, we might realize that the topic is unusual. We may recognize Rembrandt as a painter of portraiture or history or religious subjects, but we would not be able to put our finger on another instance of him painting a seascape like this one because this was his only such painting. Maybe it is this realization that would crystallize the grief one might encounter when considering the long ago robbery of this painting. Whether it is in a warehouse in the outer boroughs of New York or in a garden shed in Connecticut is irrelevant, because it is now lost to us and to history. The pain of this reality is visceral.

Rembrandt’s Galilean sea looks like a gorgeous and remarkable painting. If it were still in its gold frame in the sumptuous Dutch Room at the Gardner Christ in the Storm on the Sea of Galilee would undoubtedly be one of the best regarded paintings in America. This attribution would not just be because of its rarity, or technical brilliance, or even for its dramatic narrative. If this painting was still on view, it would be loved within and because of the wider context of Rembrandt’s meaty production.

By reconsidering this lost painting, unseen to us now and probably forever, we might find a new appreciation for Rembrandt’s oeuvre and may too find the tools we need to consider other kinds of art. This is not to say that a contemporary painting that lives in a museum hours away is as lost to us as the Rembrandtian fishing boat, but that the skills needed to hewn a sense for one are also key to the other. To know a lost painting like the Gardner’s Rembrandt, one must train their eye and use that knowledge. To get to know art in a digital space without seeing it in real life in a gallery or studio, one must do the same.

To know that Rembrandt’s painting is out there somewhere is certainly not enough for any of us who love art and who long to see it close up. We would all love to see it again under the glare of gallery lights. After watching This Is a Robbery, we might all pine to go back in time and take one last look at its craquleured surface before the infamous night that two faux policemen strode into Isabella’s museum. To look closely and see the placid face of Christ or the knowing glint in the eye of Rembrandt himself would be a pleasure and a delight.

In the meantime though, it is worthwhile to try and love Rembrant’s picture in the passionate, imperfect way that we can. Through a few digital photos on our screens we can imagine and reimagine a great painting and find a new way of looking at art.

Exhibition Charts Rembrandt's Printmaking Mastery

How Looking at a Lost Rembrandt Can Help Us See