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ETCHING The Omval
The etching is available without (w.m.) or with a mount. The mount is cream coloured, 30 x 40 cm.
The Omval, (B209), 1645.
Etching and drypoint, state II (2).
The image size is 18.4 x 22.5 cm.
Rembrandt drew the piece of land in the bend of the Amstel, still called the Omval today, serveral times.
Here we look over the river to the houses, windmills and boats at the entrance to the canal encircling the Diemermeer. In the left foreground there is a finely wrought decaying pollarded willow, in the shadows of which two lovers sit; the young man is placing a wreath of flowers on his beloved's head. This is the first of Rembrandt's landscape etchings in which he makes extensive use of drypoint, particularly noticeable in the tree.
Handprinted etching: how do we make the most beautiful reproductions of Rembrandt's etchings? First the etching is photographed. The best photograph is transferred to a copper plate which is covered with a special layer to make it sensitive to light. All the unexposed areas in this layer where black lines occur can then be washed away. The copper is exposed and grooves are created when the plate is subsequently immersed in a bath of acid. While looking through a stereomicroscope the engraver cuts the lines in the plate by hand. He uses a sharp burin and works with meticulous care, constantly comparing his work with the original, following the hand of Rembrandt. Once the plate is ready, it can be printed. The printing is done by hand. The final result comes very close to Rembrandt's original. It is as if the master himself has been at work.