JAN LIEVENS St. Jerome.
JAN LIEVENS
St. Jerome.
Etching, circa 1631. 243x212 mm; 9⅝x8¼ inches, thread margins. Third state (of 5). A superb, dark, richly-inked and early impression of this very scarce etching.
According to the National Gallery Prague, where there is another similar impression of this etching, "A successful artist himself, Lievens was a close friend of Rembrandt’s. Together, they shared an art studio in Leiden in their early career (1625-1631), where the artists influenced and inspired one other. However, in 1631, they parted ways; Rembrandt settled in Amsterdam and Lievens left for England. Through the use of the dramatic tenebrism (dramatic dark chiaroscuro), this image showing the penitent St. Jerome reflects the artist’s admiration for the Utrecht Caravaggisti." Lievens (1607-1674) likely based this etching on a painting of the same subject, from circa 1630, now in the Stedelijk Museum De Lakenhal, Leiden. Bartsch 5; Hollstein 15.
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JAN LIEVENS
St. Jerome.
Etching, circa 1631. 243x212 mm; 9⅝x8¼ inches, thread margins. Third state (of 5). A superb, dark, richly-inked and early impression of this very scarce etching.
According to the National Gallery Prague, where there is another similar impression of this etching, "A successful artist himself, Lievens was a close friend of Rembrandt’s. Together, they shared an art studio in Leiden in their early career (1625-1631), where the artists influenced and inspired one other. However, in 1631, they parted ways; Rembrandt settled in Amsterdam and Lievens left for England. Through the use of the dramatic tenebrism (dramatic dark chiaroscuro), this image showing the penitent St. Jerome reflects the artist’s admiration for the Utrecht Caravaggisti." Lievens (1607-1674) likely based this etching on a painting of the same subject, from circa 1630, now in the Stedelijk Museum De Lakenhal, Leiden. Bartsch 5; Hollstein 15.
