Lesson Preview
This lesson gives students a geographical sense of place, speaking about Rembrandt in the context of the city of Amsterdam. It also introduces the artistic medium of the etching and discusses Rembrandts mastery of the form.

Background of the Work

Around the year 1630, coinciding with Rembrandts arrival, Amsterdam was at the beginning of its heyday. It was a highly prosperous, rapidly growing commercial center reflecting Hollands central role in world trade. Its population was approximately 150,000 people, many of whom had settled there because of a desire to participate in its commerce. The harbor was full of ships from all parts of the world bringing to Amsterdam exotic cargoes of food, clothing and household materials. Buildings were being constructed throughout the city to accommodate the rapid influx of people. In addition to its cosmo-politan character, Amsterdam was also a seat of learning and culture. Universities and other centers of education were being founded. Most fortunate for Rembrandt, there were enough people in Amsterdam who were interested in studying painting and acquiring art. This helped it to become one of the most important artistic hubs in Europe.

Description of the Work
The drypoint etching of Amsterdam depicts the city as it appeared during Rembrandts time. This view of Amsterdam was attained by walking in a northeasterly direction from Rembrandts home until one reached the outermost bulwark of Amsterdam. Across the surrounding meadows, from left to right, the following structures are seen:

the Haringpakkerstoren, the Oude Kerk (Old Church),Montelbaarnstoren, which Rembrandt was to draw later, the warehouses of the East and West India Companies, the windmill on the Rijzenhoofd and finally the Zuiderkerk.

SUGGESTIONS FOR INSTRUCTION

Introducing the Lesson

Teacher begins by explaining the process of etching during Rembrandts time.

The Etching: The art of etching was very popular during Rembrandts time. An etching was made by waxing a copper plate and then drawing directly with a sharp needle into the waxed ground. The plate was then immersed in a corrosive acid which ate into the metal exposed by the etched lines not covered by wax. By controlling the length of time acid remains on the plate, the artist is able to control the fineness and/or depth of the lines. A few minutes immersion was sufficient to etch the drawing onto the plate. The plate was then washed to remove all traces of acid inked with a roller and held over a special stove. Heating the plate ensured the ink penetrated right into the etched lines. The plate was wiped with a clean cloth allowing ink to remain only in the etched grooves. The plate was then placed on the bed of a press which moved between the machines rollers. A sheet of moistened paper was laid on the plate and covered with a felt blanket. When the press wheel turned, the entire package of bed, plate, paper and blanket passed between the two rollers. Under intense pressure, the damp paper was forced into the etched grooves absorbing all the ink. The artists usually examined the result and generally the procedure was repeated several times. Usually, one plate was used to make many copies that were signed and numbered by the artist. Etching allowed these multiple copies to be made and widely distributed serving to publicize the work of the artist. Because prints were relatively cheap, they were found in many Dutch homes. They tended to be the preferred medium because prints were used on such items as calendars and traditional stories. It was only a short while before these etchings were used to produce illustrated periodicals, forerunners of the modern newspaper. [The teacher may wish to stress both the composition of etching and how the process of etching developed. Students should be instructed to observe the etching carefully and comment on its overall appearance noting how it differs from a painting.]