Extended through January 21, 2007

In celebration of Rembrandt's 400th birthday, the Saint Louis Art Museum will bring together his famous painting, Self-Portrait of 1669 from The Hague along with over 40 of the best prints from the public and private collections of St. Louis. The Hundred Guilder Print, once owned by a descendant of the artist's great friend Jan Six and the large Christ Presented to the People from the collection of the Duke of Devonshire at Chatsworth are among the most important of the artist's impressions on view for the first time together in this exhibition. The nature of the celebration encourages investigation into the artist's biography in the hopes of unraveling some of the mystery and brilliance of these impressions.

Rembrandt sought to achieve "the greatest and most natural emotion" through his art, a goal that he himself described in 1639. Numerous influences shaped Rembrandt's approach to themes. Life sketches and motifs borrowed from other artists provided him with many novel compositions. A Mughal miniature in his possession energized him to imagine an original setting for his etching Abraham Entertaining the Angels helping him make a common and predictable subject more lively and affective. And there are new biographical insights and research on printing dates that make it possible to consider further how Rembrandt’s religion and his familial relationships may have predisposed him to certain subjects and influenced their expression. Chronologically moving through the prints, this exhibition interweaves narrative, biography, and the artistic process in hopes of presenting some of the complexities behind Rembrandt's artistic genius.

A study area in the exhibition will allow viewers to investigate further Rembrandt's work, including his sources and his market. Prints by Barocci, Callot, and Dürer are juxtaposed with the works by Rembrandt. A catalogue will accompany the exhibition.

Rembrandt: Master Etchings from St. Louis Collections is curated by Francesca Herndon-Consagra and is on view October 20, 2006, through January 21, 2007, in the Cohen Gallery (313).