Rembrandt van Rijn
Dutch, 1606-1669

One of the most dramatic examples of Rembrandt’s restless rethinking of his compositions, Christ Crucified between the Two Thieves went through a series of changes. Radically reworking his print in drypoint between the third and fourth states, or printed versions, of the composition, Rembrandt transformed a somber presentation of Christ’s death into a dark and poignant scene of isolation and despair. He completely redrew, removed, or obscured many figures, using a straightedge to guide his slashing lines. The result is powerfully expressive, with Christ spotlighted in shafts of light, alone in his moment of death.

Drypoint and engraving, 1653
Fourth state of five
William J. Hitchcock fund in memory of Grace J. Hitchcock, 2002.1