REMBRANDT Harmenszoon van Rijn
(b. 1606, Leiden, d. 1669, Amsterdam)
The Little Children Being Brought to Jesus ("The 100 Guilder Print")c. 1649
Etching and drypoint, first state of two, 278 x 388 mm
Catalogue number: Bartsch 74.
The so-called Hundred Guilder Print is Rembrandt's most famous etching. Rembrandt began to make studies for this celebrated print earlier, but in its main types and in its final decisive achievement the etching belongs to the beginning of the mature period. The popular title, found in the literature as early as 1711, is derived from the high price the print is said to have fetched at a sale. According to an anecdote recorded by the eighteenth-century art dealer and collector J.P. Mariette in his Abecedario, it was Rembrandt himself who paid this sensational price for an impression of his own print.
The etching illustrates passages from Chapter 19 of the Gospel of St Matthew. Rembrandt treated the text with liberty; he merged the successive events into a simultaneous one, with Christ in the centre preaching and performing his miracles. According to the text, Christ had come from Galilee, a large multitude following, and he began to preach, healing the sick. The crowd look to the Lord, waiting for their turn to be healed. Near the centre, to the left, a young mother with a child advances to Jesus. St Peter interferes, restraining her, but Christ makes a counter-movement. It is the moment when he says the famous words: 'Suffer the little children, and forbid them not, for of such is the kingdom of heaven'.
In addition, this chapter of St Matthew contains the story of the rich youth who could not decide whether or not to give his possessions to the poor and follow Christ's teachings. The young man is seen sitting to the left, in rich attire. Here too, on the upper left, are the Pharisees, arguing among themselves, but not with Jesus, as in the text. A warmth of feeling seems to emanate from him, spreading balm on the suffering souls of the sick, the poor, and the humble. The spell of devoutness and the intimate spiritual union of the composition are mostly due to a general atmosphere of wondrous light and shade that hovers and spreads over the whole scene. It is a light that by its infinitely subtle gradations and floating character transforms the transcendent sphere into reality. A miracle which binds visible energies with the invisible and the sublime is performed before our eyes.
The types of the Pharisees in the Hundred Guilder Print are of a more genuine Jewish countenance than those Rembrandt represented in his early works. Late in the 1640s he began to watch Jews more carefully, and to characterize them more deeply than before.