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Rembrandt's daring technical bravura. Six's quiet, meditative mood is expressed by the subtle play of light on his face. In such late biblical works as Potiphar's Wife Accusing Joseph (1655, Staatliche Museen, Berlin-Dahlem), and the very moving Return of the Prodigal Son (1669 the Hermitage) Rembrandt concentrated on the inherent psychological drama rather than on the excitement of the narrative as he had in works of his early period.
In general, after his early period, Rembrandt was not particularly interested in allegorical and mythological subjects. Graphic Work For Rembrandt, drawing and etching were as much major vehicles of expression as painting. Some 1400 drawings, recording a wide range of outward and inner visions, are attributed to him, works mostly done for their own sake rather than as preparatory studies for paintings or prints.
The majority of them are not signed, because they were made for his private use. Rembrandt's early drawings (of the 1630s) were frequently executed in black or red chalk; later his favorite medium became pen and ink on white paper, often in combination with brushwork, lending a tonal accent. In some drawings, such as The Finding of Moses (1635 Rijksprentenkabinet, Amsterdam), a few charged lines indicating three figures carry maximum expression.
Other drawings were, in contrast, highly finished, such as The Eastern Gate at Rhenen (Oostpoort) (1648 Musйe, Bayonne, France), which displays details of architecture and perspective. He made masterful drawings throughout the early as well as mature phases of his career. An example of an early work is Portrait of a Man in an Armchair, Seen Through a Frame (1634, private collection, New York City), done in chalk, considered Rembrandt's most finished portrait drawing.
Superb later works are Nathan Admonishing David (1655-1656 Metropolitan Museum), done with a reed pen, and a genre piece, A Woman Sleeping (Hendrickje? ) (1655 British Museum,.Скачать