Among Rembrandt's sketches of rustic farmhouses and cottages, this drawing is unusually finished in execution and formal in composition. Rembrandt drew the scene with fine pen lines of fairly even width. He applied wash sparingly and rendered the texture of the thatch roof with heavily inked strokes reminiscent of a drypoint burr. In so doing he created a work related in feeling to his etchings. Rembrandt situated the cottage parallel to the picture plane and framed it symmetrically by adding at the right of the original sheet a strip of paper, on which he extended the tree branches, the fences, and the distant horizon. In its reinterpretation of Italian Renaissance principles of composition, this drawing reveals parallels with paintings Rembrandt made in the years 1648-50, most notably the 'Supper at Emmaus' of 1648 (Musée du Louvre, Paris).
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<P>Among Rembrandt's sketches of rustic farmhouses and cottages, this drawing is unusually finished in execution and formal in composition. Rembrandt drew the scene with fine pen lines of fairly even width. He applied wash sparingly and rendered the texture of the thatch roof with heavily inked strokes reminiscent of a drypoint burr. In so doing he created a work related in feeling to his etchings. Rembrandt situated the cottage parallel to the picture plane and framed it symmetrically by adding at the right of the original sheet a strip of paper, on which he extended the tree branches, the fences, and the distant horizon. In its reinterpretation of Italian Renaissance principles of composition, this drawing reveals parallels with paintings Rembrandt made in the years 1648-50, most notably the 'Supper at Emmaus' of 1648 (Musée du Louvre, Paris). </P>
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