'The Sign and the Light': Rembrandt's work etched in genius

Rembrandt’s influence in art history is huge.

But many of the etchings on display at Methodist University’s “Rembrandt: The Sign and the Light” exhibit are small.

How small? Small enough that visitors are issued a magnifying glass to view the works.

The exhibit opened Sept. 11 in David McCune International Art Gallery, which is celebrating its 10th anniversary. It continues through Nov. 18.

Because of the COVID-19 pandemic, restrictions on attendance are in place. Admission is free, but visitors must reserve a date and time by going to the gallery's website, davidmccunegallery.com. Only five people are allowed in at a time.

Also, unlike past exhibits, no opening reception will be held, said Silvana Foti, professor of art at Methodist and executive director of the gallery.

The exhibit includes 59 etchings by the Dutch artist, who was born in 1606 and died in 1669. They range from religious images such as the Crucifixion of Christ and beheading of John the Baptist to personal works such as depictions of the artist’s wife and mother.

“People normally think of Rembrandt’s paintings,” Foti said. “You don’t necessarily think of Rembrandt’s etchings, but those are some of his most intimate (works).”

Artist's legacy

Born in Leiden in what is now the Netherlands, Rembrandt Harmenszoon van Rijn is considered by many art historians to be one of the most important visual artists in history and the preeminent Dutch artist.

Unlike some artists, who restricted themselves to one subject area, Rembrandt’s work includes portraits, self-portraits, landscapes and biblical themes.

Rembrandt's self-portraits are almost a genre in themselves. Working off his reflection in a mirror, the artist painted himself from his youth until shortly before his death.

Born in a well-to-do family, Rembrandt found success as a portrait artist, opened his own studio and taught many other Dutch painters. But by the end of his life, he had fallen into poverty and was buried in an obscure grave.

Over the decades and centuries after his death, Rembrandt’s reputation grew. Today, he is one of a handful of artists whose name and work are known even to people not schooled in art history.

Attention to detail

The etchings in “Rembrandt: The Sign and the Light” range in size from about 2¼ by 3½ inches to about 12 by 15 inches. What they have in common is their intricacy and attention to detail, down to the expressions on the faces of the subjects.

“You look at them and it looks like they’ve been theatrically set up,” Foti said. “It looks like they were staged in a theater. He basically puts (his subjects) in a stage-like format.”

Foti said the etchings were done in a variety of techniques. Only a certain number of each etching were created.

"This exhibition is close to my heart because it's a process I can understand," said Foti, who is a print maker. "It's a process I can explain."

The Methodist exhibit was arranged through Art Company of Pesaro, Italy. The exhibit was made possible with a grant from an anonymous fund of the Cumberland Community Foundation.

The etchings, largely created from the 1630s to 1650s, reflect Rembrandt’s wide range of influences and interests.

Biblical themes are depicted in etchings such as “The Agony in the Garden” and “Adoration of the Shepherds: With the Lamp.” More personal works include “A Self Portrait With Saskia” (his wife) and “The Artist’s Mother With Her Hand on Her Chest.”

Then there are the works that don’t fit into either category, such as etchings showing a golfer and a person playing cards — perhaps not the kind of work that would be expected of a Dutch master. Another, from 1650, is titled "Landscape With a Cow."

“He does these sort of whimsical things that you wouldn’t expect,” Foti said.

The works are accompanied by signs that give some insight into the meaning behind them.

For instance, the “Self Portrait With Saskia” sign notes how Rembrandt’s wife’s image is subordinate to the artist’s, “which may hint at tensions between the artistic practice and his marital status.” A painting of a golfer with a “resigned attitude” may reflect the artist’s financial worries at the time, the explaining sign notes.

The sign by the etching of the artist's mother notes that "the old woman's demeanor and attire are dignified, self-possessed."

The exhibit is accompanied by music composed by Yaroslav Borisov, a Methodist senior majoring in music performance.

Borisov, who is from Voronezh, Russia, said he used both electronic and acoustic instruments in the composition. For part of the piece, he muted the strings of a piano to create an unusual sound.

“I wanted to reflect the early Baroque era, but at the same time I was asked to do something very contemporary,” Borisov said.

Foti said while some of the etchings may need to be seen through a magnifying glass to be fully appreciated, the effort will be well worth it.

“Some of the etchings are so small,” she said, “yet they’re so beautiful.”

Gallery hours are 11 a.m. to 5 p.m. Tuesday through Friday and noon to 4 p.m. Saturday and Sunday. Photographing the artworks is not permitted.

For more information, call 910-425-5379 or go to davidmccunegallery.com.

Staff writer Rodger Mullen can be reached at rmullen@fayobserver.com or 910-486-3561.