Drawing a Crowd

The Art Institute’s astounding collection of prints and drawings deserves a closer look.

(page 8 of 10)

The Three Crosses (1660-61)
Rembrandt’s Crucifixion scene went through five versions. In the final, the artist covers some of the figures on the sides with an etching technique called dry point, obscuring them and creating a sense of chaos.

McCULLAGH SAYS: “There’s a lot of detail in this print. If you look at the figure on horseback in front of the cross, it’s clearly inspired by a medallion Pisanello rendered based on the horse-and-rider figure in his drawing [see number 4].”



Submit your comment

Comments are moderated. We review them in an effort to remove foul language, commercial messages, abuse, and irrelevancies.

Note: To serve its readers better, Chicago has migrated its comments to Disqus, a popular commenting platform. Please feel free to contact us with any feedback.