Rembrandt Harmensz. van Rijn (1606–1669), Male Nude, Seated and Standing(‘Het Rolwagentje’), circa 1646, Etching, state I/VII, Plate: 195 × 128 mm, The British Museum, London
This unusual etching offers valuable insight into Rembrandt’s studio teaching methods. Pupils were encouraged to refine their observational skills and artistic techniques by studying the human form in a collaborative setting. Unlike traditional life-drawing classes, which focused on replicating poses, Rembrandt emphasised capturing the model’s humanity.
The scene in ‘Het Rolwagentje’ features two nude models and a child in a walking frame, the latter symbolising the concept of ‘learning through practice’—a metaphor particularly relevant to the educational atmosphere of Rembrandt’s studio. The emphasis was on experiential learning and developing technical skills through direct observation and practice. As the master of the workshop, Rembrandt worked in the most challenging manner during these sessions, etching directly onto the plate without the possibility of correction, showcasing his confidence and mastery.
Another known work from the same session, by Carel Fabritius, one of Rembrandt’s most talented pupils, exemplifies how Rembrandt’s students embraced this method. Fabritius’s drawing, ‘Standing Male Nude,’ currently held in the Albertina Museum in Vienna, captures the same pose as the standing figure in Rembrandt’s etching, though from a slightly different angle. Fabritius’s work, noted for its detailed and precise rendering, demonstrates the influence of Rembrandt’s insistence on accuracy and realism without idealisation. The difference in medium—Fabritius using pen, ink, and wash, while Rembrandt etched directly onto the plate—highlights the variety of techniques encouraged within the studio.