Rembrandt was born 400 years ago this year and the Bermuda National Gallery, like so many art museums around the world, is celebrating the event, by exhibiting a dozen etchings by this renowned artist.

As an educator, I welcome the opportunity to be able to have students study the work of this master etcher. In New York or London, such an opportunity would be common, not only to study Rembrandt but also a host of other great artists. I remember while studying art in London being advised to go to the British Museum to see how Raphael handled a particular problem that I was having in depicting the human figure, but to be able to do this in Bermuda: What an opportunity.

Now I can have my students do the same for whatever visual problem they may be encountering, at least for the duration of this exhibition, which does not end until into the new year.

The art of etching is a branch of printmaking in which the desired design is etched into a metal plate by means of acid. The plate itself is first coated with an acid resistant, paint-like material. The artist then scratches the design through the coating with a sharp needle, thus exposing the metal. After this, the plate is immersed in an acid bath until the acid had ?bitten? the plate sufficiently. The plate is next cleaned and inked, by pushing the ink down into the grooves made by the acid and then finally the plate is printed by means of a press, in which the inked plate and paper are rolled through a roller, under great pressure.

By the 16th Century the etching process was already well developed but it was Rembrandt in the 17th Century who set such a high benchmark both in the quality of his work and in the enormous quantity of etchings actually made. It is said that he produced at least 300 different etchings.

What is especially notable with a Rembrandt etching is the great tonal range he was able to accomplish, all by means of scratching with a needle. It is true that already in his life time, about 1650 and even in Amsterdam, Rembrandt?s home city, Jan van der Velde had invented the aquatint process. This was a new way of creating different tonal areas, but for whatever reason, Rembrandt did not take it up but went on scratching away with his needle.

To tell the truth, it is doubtful that, with this new invention, he could have accomplished the rich chiaroscuro for which he became famous. Additionally, there is the quality of his line. He drew with such a freedom and spontaneity. This is evident by the variation one finds in even an individual line. By this I mean, the changes in the thickness of the line or changes in the degree of light or darkness seen in a line. All this is indicative of changes in the pressure that Rembrandt exerted when making the drawing.

Rembrandt really worked his copper plates. In many instances, his compositions went through a number of stages. The changes he made would have required the removal of certain areas, and this was done by scraping away the old etched area and then redoing the etch. Working the plate in this way often enriches the surface, and from my own experience as a printmaker, I know of no other way to get such a richness of surface.

Rembrandt?s choice of subjects was varied but to a large extent, he dealt with aspects of the human condition. He was especially drawn to Biblical subjects. He had been brought up in a hard working, devoutly Christian household and it was his parents wish that he become a clergyman. With that in mind, he was first sent to a Latin school and then the University of Leiden, but in the end, his natural ability as an artist won out, nevertheless, this background provided him a extensive knowledge of Bible stories. To these stories, he returned over and over again in selecting the subject matter for his etchings as well as his paintings.

Despite early artistic successes, Rembrandt did not have an easy life and it seems that he drew spiritual comfort from these stories. Possibly because of his personal, experiential involvement in the subjects he chose, his etchings became increasingly expressive in his use of line and tone. Of the 12 etchings in the National Gallery exhibition, eight are of Biblical subject matter. Possibly his best known etching is the so-called ?Hundred Guilder Print?. This is in the exhibition and worth searching out. In this etching, Christ is shown preaching to the people. Just across the corner from this renowned print is a lesser known and smaller etching of a student studying by candle light. This is a notably dark print, but this darkness does dramatise the small amount of light given off by the lone candle. But when you see it, notice also that even in the darkness there are forms that are slightly visible. This must have been a personal challenge for Rembrandt, to see just how much he could show, even in such darkness.

As one enters to the National Gallery, just to your left, there is a small room in which there is another small exhibition of excellent reproductions of some of Rembrandt?s other etchings given to the Gallery by Mr. George Peterich. Of the seven reproductions, three are from Bible stories as well, including the ?Return of the Prodigal Son?. Two of the etchings are examples of his depiction of landscape.

Rembrandt?s etchings are not large, so hanging them in a spacious room was a considerable challenge for the exhibition curator, David Mitchell. The problem was giving such small works a presence. This he accomplished by placing each etching on a panel covered in red velvet. The black and white etchings, are enriched by the richness of the red velvet, which in turn enriches the gallery itself, providing a warmth that is appealing. Noticeable too, is the subdued lighting in the gallery. Although from the visitor?s perspective, this may not be desirable, it is required to help preserve these delicate works.

This exhibition continues through January 5, 2007.