lly
kicking its feet in the air.

Such artistic command seldom comes spontaneously. In Rembrandt's case,
it is clearly the result of careful preparation, many years of learning
and experience, and hard work in the creation of each picture. Such a
process has produced in this print--one of nine landscapes which mark a
turning point in 1650--a work of stylistic synthesis, which integrates
Rembrandt's previous knowledge and leads on to his later masterpieces.

[Illustration: FIGURE 2

Mirror reversal of _Landscape with a hay barn and a flock of sheep_.]

In 1650 Rembrandt was evidently in a tranquil state of mind. He was 44
years old. Young Hendrickje Stoffels, who had entered his household in
1645 as a maid, was well settled as housekeeper and mistress. Geertghe
Dircx--who had been the nurse of Rembrandt's son, Titus, since the death
of his wife, Saskia, in 1642--had just been taken to an institution
after a nasty breach of promise suit.[5] Rembrandt's finances were in
good shape; his insolvency was not to come until 1656, after the
international economic crisis of 1653.[6] The artist certainly had the
fullest confidence and experience in his working methods, having already
done close to 250 prints.[7] This state of well-being is reflected in
the fact that of the 27 prints Rembrandt did in the three years,
1650-1652, no fewer than 14 are landscapes of a serene character.[8]
This is an unusually large proportion of a single subject and surely
reflects the artist's state of mind, which helped him to produce this
masterpiece of serenity, humor, and technical virtuosity.

His etching technique can be clearly studied in this print. In summary,
all the evidence shows that Rembrandt here laid a foundation of lines on
his plate with a single etching. He then mantled the sketch with rich
drypoint lines, to give a sensitive chiaroscuro to the finished work.
The integration of etching and drypoint is striking. There are few areas
of this print (except the sky) that do not contain both kinds of line.

Rembrandt evidently had an excellent idea of his design before he ever
touched the needle to the plate. Though he is often admired for his
spontaneity, particularly in his landscapes,[9] this is a misconception.
Benesch lists no fewer than 78 landscape drawings by Rembrandt in the
years 1648-1650,[10] and there were perhaps many more, now lost or
unidentified. For this etching alone, there are at least five likely
preparatory draw