027

  • Rembrandt and His Wife Saskia

  • 1636
  • Rembrandt van Rijn (Dutch 1606-1669)
  • Etching
  • 10.6 x 9.5 cm., 4-3/16 x 3-7/8" image
  • Gift of Augustana College Class of 1951, Paul A. Anderson Art History Collection, Augustana College 2001.19

Essay by Kathryn Hannen Walker, Class of 1993

While Rembrandt created numerous self-portraits and regularly depicted his wife Saskia van Uylenburgh (1612-1642) in both his prints and paintings, this etching is one of only two images where they appear together. The other instance is Rembrandt's boisterous painting Self Portrait with Saskia in the Guise of the Prodigal Son (1635, Gemäldegalerie, Dresden) where Rembrandt and Saskia are shown in a tavern with Saskia seated on Rembrandt's lap while Rembrandt gaily turns to the viewer and raises his drink.

This etching of Rembrandt and Saskia was created two years after they married. In stark contrast to the Prodigal Son portrait, Rembrandt portrays himself as an artist—working in his studio and engrossed in his art—with his supportive wife, model, and muse firmly behind him. Rather than wearing contemporary seventeenth-century clothing, Rembrandt and Saskia don fancy costumes from the sixteenth-century, which were perhaps props found in Rembrandt's studio. By selecting this setting and placing them in costume, Rembrandt ignored the well-established conventions of Dutch marriage portraiture where artists formally placed couples in contemporary and comfortable domestic spaces. Instead, it is possible that Rembrandt was alluding to a popular Dutch motto, "Liefde baart kunst" or "Love brings forth art." Given the numerous representations of Saskia in his oeuvre, Rembrandt's relationship with his wife was likely a significant source of inspiration and this etching might be a representation of her important role in his art and life.

In this etching, Rembrandt dominates the composition and radiates confidence. He appears to relish his increased prosperity and growing social position, some of which was due to Saskia's prominent family and significant dowry. He is seated at a table with his wife—his arm positioned prominently in the foreground holding an etching tool, but at rest. He places Saskia behind the table and deep in the composition; however, Rembrandt draws the viewer to her because she is so brightly illuminated and has an almost other worldly appearance. Like her husband, she looks out to the viewer, but Rembrandt stands between his wife and audience. In this intimate setting, Rembrandt stands as the gate-keeper to his wife and muse and we only approach her through him.