Rembrandt van Rijn
Dutch, 1606–1669
The composition of "The Omval," a rural area near Amsterdam, may have been inspired in part by Italian prints, and specifically a compositional motif found in Venetian etchings. When Rembrandt split the landscape into two distinct parts, a wooded foreground juxtaposed against a distant townscape, he adapted a Venetian compositional type. The wooded area consists mainly of vertical forms, while the river scene is formed mostly of horizontal lines. He worked up the foreground in considerable detail and left the background roughly sketched, creating a forceful contrast of light and dark enhanced with rich areas of drypoint on the left. The soft blacks around the two lovers hidden in the brush help to create a sense of intimacy. The lovers are concealed by darkness, but sunlight baths the background.
See "Rembrandt: Beyond the Brush; Master Prints from the Weil Collection," exh. cat. (Montgomery: Montgomery Museum of Fine Arts, 1999), 70.
Dutch, 1606–1669
The Omval
1645
Object Type:
Print
Creation Place:
Northern Europe, Dutch
Dimensions:
7 5/16 in. x 8 15/16 in. (18.57 cm x 22.7 cm)
Medium and Support:
Etching and drypoint with sulphur tint on cream laid paper
Accession Number:
1999.0007.0102
Credit Line:
Gift of Jean K. Weil in memory of Adolph "Bucks" Weil, Jr.
The composition of "The Omval," a rural area near Amsterdam, may have been inspired in part by Italian prints, and specifically a compositional motif found in Venetian etchings. When Rembrandt split the landscape into two distinct parts, a wooded foreground juxtaposed against a distant townscape, he adapted a Venetian compositional type. The wooded area consists mainly of vertical forms, while the river scene is formed mostly of horizontal lines. He worked up the foreground in considerable detail and left the background roughly sketched, creating a forceful contrast of light and dark enhanced with rich areas of drypoint on the left. The soft blacks around the two lovers hidden in the brush help to create a sense of intimacy. The lovers are concealed by darkness, but sunlight baths the background.
See "Rembrandt: Beyond the Brush; Master Prints from the Weil Collection," exh. cat. (Montgomery: Montgomery Museum of Fine Arts, 1999), 70.
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