The Blindness of Tobit: The Larger Plate by Rembrandt van Rijn

Rembrandt van Rijn
1606-1669 | Dutch

The Blindness of Tobit: The Larger Plate

Etching on paper
The New Hollstein Dutch 265 first state (of II)
Signed and dated "Rembrandt f. 1651" (lower right)

The Blindness of Tobit: the Larger Plate is an extraordinary etching and drypoint by the master Rembrandt van Rijn, created in 1651. This work captures a poignant moment from the apocryphal Book of Tobit (Tobit 11: 5-11), where the blind Tobit, in his anxious anticipation, knocks over a spinning wheel as he rushes to greet his long-lost son. This etching exemplifies Rembrandt's unparalleled ability to convey deep emotion and narrative complexity through the etching technique.

In this finely detailed etching, Rembrandt uses light and shadow to heighten the emotional impact of the scene. The dark ink behind Tobit emphasizes his isolation, while the brightness of his beard, untouched by ink, draws attention to his anguished expression. The careful composition, with everyday objects such as the spinning wheel and fish hanging from the hearth, adds depth to the narrative, illustrating Tobit's impoverished life. The small dog nestled into Tobit's garment symbolizes his son's approaching return.

The son of a miller, Rembrandt van Rijn is believed to have been born in Leiden on July 15, 1606. He studied first at the Latin School and then was enrolled at the University of Leiden at the age of 14. He soon left to study art—first with a local master, Jacob van Swanenburch, and then, in Amsterdam, with Pieter Lastman, known for his historical paintings. Rembrandt was an exceptionally gifted student and mastered his art in a mere six months. Now 22 years old, he returned to Leiden and was soon so highly regarded that he was able to take students of his own.

Though known today primarily for his paintings, Rembrandt's fame spread outside the Netherlands thanks to his etchings. He made hundreds of etchings over the course of his career from 1626 until 1660, the year he was forced to sell his presses. He created etchings of a number of subjects, including self-portraits, biblical subjects, saints and allegories, and his work was avidly admired and collected, even during his lifetime.

Dated 1651

Etching: 6 3/4“ high x 5 1/2” wide (17.15 x 13.97 cm)
Frame: 20 1/4“ high x 16 3/8” wide (51.44 x 41.59 cm) 

Provenance:
Fogg Art Museum of Harvard University, Cambridge, Massachusetts
Private collection, Germany
Private collection, the Netherlands
M.S. Rau, New Orleans

Literature:
Bartsch, Adam, Le Peintre-Graveur, Vol. 1. Leipzig: C.G. Boerner, 1922, No. 42
Hind, Arthur M, A Catalogue of Rembrandt’s Etchings. London: Methuen, 1923. No. 42
Hollstein, F.W.H, Dutch and Flemish Etchings, Engravings and Woodcuts, ca. 1450-1700, Amsterdam: Menno Hertzberger, 1949, No. 265, First State (of II)
Nowell-Eusticke, G.W., The Later Work of Rembrandt, London: Constable, 1960. No. C1

Plate not in existence