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A bend in the River Amstel near Kostverloren House, Rembrandt van Rijn, pen and brown ink drawing, with wash

Rembrandt pen drawing along the Amstel River – Lines and Colors

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A bend in the River Amstel near Kostverloren House, Rembrandt van Rijn, pen and brown ink drawing, with wash
A bend in the River Amstel near Kostverloren House, Rembrandt van Rijn, pen and brown ink drawing, with wash (details)

A bend in the River Amstel near Kostverloren House, Rembrandt van Rijn; pen and brown ink with brown and grey washes, heightened with white bodycolour on oatmeal paper; roughly 5 x 10″ (14 x 25 cm). Original is in the collection of the Chatsworth Estate.

It would be easy to glance at a drawing like this — a sketch really — take it in briefly, and pass on by, on the the next, more colorful artwork. But to me, these pen and brown ink landscape drawings by Rembrandt are among my favorite works in the entire history of art.

Many of them, on more devoted looking, reveal themselves to me as transcendent and poetic.

Perhaps it’s because I can project myself into them — even better than with a more “realistic” painted view — and picture myself sitting there on the bank in the shade with my own sketchbook and pens, immersed in the day, the smell of the river, the sounds of water lapping at the boats, the gentle clop of the horses passing by, perhaps a gentle breeze waving through the sun-topped line of trees.

Just as easily, I can picture Rembrandt sitting there — a sheaf of paper in his lap, reed pen and brush in his hands with perhaps two bottles of iron gall ink at his side, one full strength, one diluted for washes — immersed in the scene and his drawing while his troubles (of which he certainly had his share) recede into the distance.

As far as can be determined, these pen, brown ink and wash drawings were created simply for Rembrant’s own benefit, either as practice, or (I think) simply for pleasure. There is no known connection identifying them as preliminary for paintings or even for any of his similarly handled etchings.

Many of these, and other Rembrandt drawings in brown ink and wash, are listed as drawings in bistre ink (made from wood-burning soot), but chemical analysis indicates that a high percentage of them may have been drawn with darker iron gall ink, usually made from oak galls, iron salts and tannic acid. I’m guessing that may be the case here.

Renbrandt’s notation is breezy, economical and seemingly effortless. Just a few gestural lines — but brilliantly sweeping, lightly touched with tone — produce a solid line of trees, a river and its bank, boats and horsemen. Their sun bathed and shade dappled textures are created almost entirely in our mind’s eye.

Because it has happened to me on occasion, I have the distinct feeling that drawings like this might have felt to Rembrandt like they were flowing directly from nature, into his eyes, and out through his pen onto the paper — while he observed. There is little feeling here of artifice or the construction of a drawing as a work of art.

You’re unlikely to see what I mean from the small image and detail crops I can present here. Go to this link and view the drawing as large in your monitor as you can to get the feeling I’m trying to convey.

 

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