An artwork on Galleree from Cleveland Museum of Art.
About the artwork
Christ Crucified Between the Two Thieves: 'The Three Crosses'1653-c.1660
Rembrandt van Rijn
Rembrandt’s <em>Christ Crucified Between the Two Thieves</em> is executed entirely in drypoint. Because of the delicacy of the technique, the copper plate was worn after the artist printed about 40 impressions of the first three states. In order to continue using the plate, Rembrandt reworked it, changing the image somewhat. In this fourth state, slashing strokes obscure the spectators visible in the earlier version, creating a tenebrous setting that focuses attention on Christ bathed in celestial light. Although drypoint is an inherently linear medium, Rembrandt used it to obtain tonal qualities associated with painting. The blackness becomes an active force that threatens to extinguish the light of Christ—a literal illustration of the Evangelist Luke’s description of the event that brought "a darkness over all the earth."
When he printed this impression, Rembrandt deliberately left ink on the printing plate, specifically on the left and right sides, essentially creating a unique work.
drypoint
Sheet: 37.5 x 44 cm (14 3/4 x 17 5/16 in.)
Bequest of Ralph King and Purchase from the J. H. Wade Fund
In the quiet chamber of a dimly lit gallery, Rembrandt’s masterpiece, *Christ Crucified Between the Two Thieves*, stands as a solemn witness to sacrifice and redemption. Each detail of this artwork whispers an ancient story, carved delicately into the copper plate through a technique known as drypoint. It’s a method that demands precision, yet bears a softness that resonates with the delicate balance of light and shadow.
As the artist took his time, pressing the plate against paper, he produced around forty impressions from the initial three states, each a fleeting echo of a moment in time. Yet, as with all things in life, wear began to show, and the plate, like all of us, needed reimagining. In what would become the fourth state, Rembrandt made bold strokes, transforming the piece. The earlier presence of onlookers, those witnesses to this profound moment, faded into obscurity. The artist cloaked them in shadow, casting their silhouettes into a tenebrous setting that served to heighten the radiance of Christ, illuminated as if by divine grace.
The light spills from Christ, a stark contrast to the encroaching darkness that wraps around the scene like a heavy cloak. Rembrandt masterfully manipulates the inherent linear quality of drypoint to achieve rich tonal values, drawing us into a deeper, more contemplative space. The blackness surrounding Him thrums with life, an active force poised to snuff out the flicker of hope offered by the celestial light. It was a moment reminiscent of the words spoken in the Gospel of Luke, where darkness blanketed the land, sealing the earth under a shroud of despair.
As I stand before this haunting work, I find myself reflecting on the duality of light and dark within our own lives. Rembrandt invites us to ponder the depth of suffering entwined with the promise of salvation, urging us to recognize the beauty that can emerge even when shadows loom vast and threatening. In this artwork, darkness is not merely the absence of light; it is a presence, a reminder of the struggle inherent to the human experience—the struggle that makes the light all the more poignant.
About the artist
Creating transformative experiences through art “for the benefit of all the people forever.”The Cleveland Museum of Art is renowned for the quality and breadth of its collection, which includes more than 66,500 artworks and spans 6,000 years of achievement in the arts. The artworks shared on this platform are sourced from the museum's Open Access data under the CC0 license. No endorsement is implied.Address: 11150 East Boulevard, Cleveland, OH, USA 44106
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