The Descent from the Cross (Second Plate)

Rembrandt created this etching in 1633, in collaboration with the more experienced artist, Jan van Vliet. At this stage, he was still learning the techniques of this challenging medium and so required guidance.

We must remember that, as skilled as Rembrandt was, he was only in his twenties at this time and was far more knowledgeable in painting than etching. There was also an abundance of experienced engravers living fairly close by during the early to mid 17th century and so it made sense to draw on some of their knowledge in order to help him to achieve the levels that he desired. The artist was someone who required levels of near perfection within his career and so could simply invest the years that it would have taken to become a master of etching without the aid of others. The artwork found here was one of his earliest mass-produced prints and arrived a year before his painting of the same theme, which would followed a relatively similar layout.

A print from this artwork was sold for £4,000 in 2013, which gives us a great understanding of the value of each copy made. The information around this sale describes the design as being from the fifth and final state, meaning that the etching had received several alterations over time and that the print on sale was reflective of the final version. This is entirely normal but also underlines why the value of reproduction prints from his career are so much less valuable than the artist's original paintings. We rarely know how many were produced in each series, and their lack of uniqueness means that any real value is derived from their connection to such an important artist. The entry also suggests the publisher to be Lamoureux, though we have not yet found any additional information about this, likely French or Belgian, individual.

If we study the composition found here, we find Christ being taken down by a number of figures, some helping directly whilst others look on in concern for the man. A striking vertical display of light comes from above, perhaps a sign of his importance and the need to care for him. We see subtle lines depicting the city in the background, hidden partially be the night sky. Several climb on top of the cross, or up its sides, whilst a ladder helps these individuals to safely pull him down without danger of making his condition worst. The Descent from the Cross is a theme which delivers incredible symbolic power, where the community come together to help this stricken and mistreated man. Rubens produced his own version just a few years earlier than this etching, as well as the initial Elevation of the Cross. His subsequent return to form, against any realistic expectation, would serve as another example of his holy purpose.

Object Notes and Research Context

The Rijksmuseum's records for The Descent from the Cross, Second Plate identify a large 1633 print after Rembrandt's own painted composition for Prince Frederick Henry. Some impressions record Hendrick Uylenburgh as publisher, which is important because the sheet belongs to Rembrandt's early Amsterdam network of patrons, publishers and ambitious religious imagery.

The museum notes that one of the men on the ladder has Rembrandt's face. That self-insertion should be handled carefully: it does not turn the print into a self-portrait page, but it does show Rembrandt placing himself within the labour of lowering Christ from the cross. Link this URL to Descent from the Cross and the Passion-series context.

This large 1633 print belongs to Rembrandt's early Amsterdam ambition. By adapting his painted Passion composition into print, he could circulate a major religious invention beyond a single painted commission. The scale and publishing route make it different from his smaller, more private-looking biblical etchings.

The second plate should also be distinguished from later Descent subjects. Readers may arrive from image search and see similar titles, so the page needs clear date and medium language: this is the large 1633 etching after the painted Descent from the Cross, not the 1654 torchlight print and not a later copy after Rembrandt.

Further Rembrandt Context

This shorter legacy page remains part of the Rembrandt archive. For fuller context, use the refreshed Rembrandt pages below, which explain the artist's biography, media, technique, attribution issues and major works in greater depth.

• Rembrandt
• Rembrandt etchings
• Rembrandt Style and Technique
• Rembrandt Workshop and Attribution

For secure object data, attribution and collection history, compare The Descent from the Cross (Second Plate) with the relevant museum or catalogue record before treating older page text as final.

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