{"secondaryobjectnumber":null,"periodterms":[],"creditline":"Gift of David H. McAlpin, Class of 1920, and Mrs. McAlpin in memory of Professor Clifton R. Hall","caption":"Rembrandt van Rijn (1606–1669; born Leiden, Netherlands; died Amsterdam, Netherlands), Christ Crucified between the Two Thieves (The Three Crosses), 1653–55. Drypoint and burin; 38.5 x 45 cm (plate), 43.4 x 48.4 cm (sheet). Gift of David H. McAlpin, Class of 1920, and Mrs. McAlpin in memory of Professor Clifton R. Hall (x1969-310)","cultureterms":[{"id":2031563,"culture":"European"},{"id":2031635,"culture":"Dutch"}],"type":"artobject","dimensionsproposed":"","terms":[{"id":2054537,"term":"drypoint","aatid":300041349,"termtype":"Classification"},{"id":2094217,"term":"thieves","aatid":300025841,"termtype":"Subject"},{"id":2031563,"term":"European","aatid":300020656,"termtype":"Culture"},{"id":2054569,"term":"etchings","aatid":300041365,"termtype":"Classification"},{"id":2171366,"term":"Christ","aatid":null,"termtype":"Subject"},{"id":2133990,"term":"crucifixion","aatid":null,"termtype":"Subject"},{"id":2095964,"term":"religious art","aatid":300248179,"termtype":"Subject"},{"id":2097045,"term":"Christianity","aatid":300073711,"termtype":"Subject"},{"id":2088270,"term":"men","aatid":300025928,"termtype":"Subject"},{"id":2141899,"term":"burins","aatid":300193147,"termtype":"Classification"},{"id":2031635,"term":"Dutch","aatid":300111175,"termtype":"Culture"},{"id":2099007,"term":"shadows","aatid":300056036,"termtype":"Subject"},{"id":2054256,"term":"prints","aatid":300041273,"termtype":"Classification"},{"id":2055657,"term":"figures (representations)","aatid":300189808,"termtype":"Subject"},{"id":2154936,"term":"drypoint","aatid":300053228,"termtype":"Techniques"},{"id":2141899,"term":"burins","aatid":300193147,"termtype":"Tools"}],"geography":[{"displaygeography":"Place made: Europe, Netherlands","code":"Place made","continent":"Europe","subcontinent":null,"country":"Netherlands","region":null,"state":null,"city":null,"county":null,"subregion":null,"locale":null,"locus":null,"river":null,"excavation":null,"geoname":"http://www.geonames.org/2750405/kingdom-of-the-netherlands.html","location":{"lat":"","lon":""}}],"dimensionelements":[{"element":"sheet","type":"Height","units":"centimeters","dimension":"43.40"},{"element":"sheet","type":"Width","units":"centimeters","dimension":"48.40"},{"element":"plate","type":"Height","units":"centimeters","dimension":"38.50"},{"element":"plate","type":"Width","units":"centimeters","dimension":"45.00"}],"markings":"Watermark\r\n\r\nCollector Otto Gerstenberg's stamp: (Lugt 2785)\r\n\r\nMontag Mark (262)","accessionyear":"1969-01-01","newaccession":0,"makers":[{"id":1550,"displayname":"Rembrandt van Rijn","displaydate":"1606–1669; born Leiden, Netherlands; died Amsterdam, Netherlands","datebegin":1606,"dateend":1669,"prefix":null,"suffix":null,"role":"Artist","displaymaker":"Rembrandt van Rijn, 1606–1669; born Leiden, Netherlands; died Amsterdam, Netherlands","displayorder":1}],"datecomputed":1654,"signed":null,"restrictions":null,"classification":"Prints","packages":[{"packageid":197269,"name":"web_highlights -revised 2021"},{"packageid":226588,"name":"2023_ENG448/THR448/HUM448/COM440_02_22"},{"packageid":231469,"name":"2023_FRS121_09_27"},{"packageid":232332,"name":"2023_FRS159_11_03"},{"packageid":234043,"name":"TDC-Final [6]"},{"packageid":235146,"name":"web_FRS159"},{"packageid":241081,"name":"TDC-Final [7]"},{"packageid":253323,"name":"ART487_MIRADOR"},{"packageid":137019,"name":"web_WoPSR_2018_Rembrandt"},{"packageid":206417,"name":"image_descriptions_top250"},{"packageid":207234,"name":"SAB_Gala2021"},{"packageid":267450,"name":"Web_CA_2025_European"},{"packageid":272441,"name":"2025-Fall-FRS168"},{"packageid":194452,"name":"PUAM_World of Prints"}],"catalograisonne":"Bartsch 78; Biörklund and Barnard 63; Hind 270; Hollstein 78; Münz 223; New Hollstein 222.274","classifications":[{"id":2054537,"classification":"drypoint"},{"id":2141899,"classification":"burins"},{"id":2054569,"classification":"etchings"},{"id":2054256,"classification":"prints"}],"exhibitions":[{"exhibitionid":961,"citation":"An Educated Eye: The Princeton University Art Museum Collection (Friday, February 22, 2008 - Sunday, June 15, 2008)","isvirtual":true,"begindate":"2008-02-22","enddate":"2008-06-15","uri":"https://artmuseum.princeton.edu/art/exhibitions/961"}],"cultures":[],"primaryimage":["https://media.artmuseum.princeton.edu/iiif/3/collection/PUAMSTU2016_40724"],"displaytitle":"Christ Crucified between the Two Thieves (The Three Crosses)","displayculture":null,"displaymaker":"Rembrandt van Rijn, 1606–1669; born Leiden, Netherlands; died Amsterdam, Netherlands","captionhtml":"Rembrandt van Rijn (1606–1669; born Leiden, Netherlands; died Amsterdam, Netherlands), <i>Christ Crucified between the Two Thieves (The Three Crosses)</i>, 1653–55. Drypoint and burin; 38.5 x 45 cm (plate), 43.4 x 48.4 cm (sheet). Gift of David H. McAlpin, Class of 1920, and Mrs. McAlpin in memory of Professor Clifton R. Hall (x1969-310)","displaydate":"1653–55","medium":"Drypoint and burin","media":[{"id":204695,"uri":"https://media.artmuseum.princeton.edu/iiif/3/collection/PUAMSTU2016_40724","isprimary":1,"rank":1,"mediatypeid":1,"mediaviewtype":"(not assigned)","restrictions":null,"caption":"PUAM photo"},{"id":204696,"uri":"https://media.artmuseum.princeton.edu/iiif/3/collection/PUAMSTU2016_40727","isprimary":0,"rank":2,"mediatypeid":1,"mediaviewtype":"(not assigned)","restrictions":null,"caption":"PUAM photo"},{"id":204697,"uri":"https://media.artmuseum.princeton.edu/iiif/3/collection/PUAMSTU2016_40729","isprimary":0,"rank":3,"mediatypeid":1,"mediaviewtype":"(not assigned)","restrictions":null,"caption":"PUAM photo"}],"displayperiod":null,"extended_content":true,"campuscollections":"false","bibliography":[{"boilertext":"<i>Princeton University Art Museum: Handbook of the Collection</i> (New Haven, CT: Yale University Press, 2007)","citation":"<i>Princeton University Art Museum: Handbook of the Collection</i> (New Haven, CT: Yale University Press, 2007), p. 269 (illus.)","date":2007,"id":474,"uri":"https://search.worldcat.org/title/191864564"},{"boilertext":"<P><SPAN style='FONT-SIZE: 9pt; FONT-FAMILY: \"Arial\",sans-serif'>F.W.H. Hollstein, “Rembrandt,” <EM><SPAN style='FONT-FAMILY: \"Arial\",sans-serif'>Dutch and Flemish etchings, engravings, and woodcuts, ca. 1450-1700</SPAN></EM> (Amsterdam: M. Hertzberger, 1969).<?xml:namespace prefix = \"o\" ns = \"urn:schemas-microsoft-com:office:office\" /><o:p></o:p></SPAN></P>","citation":"<P><SPAN style='FONT-SIZE: 9pt; FONT-FAMILY: \"Arial\",sans-serif'>F.W.H. Hollstein, “Rembrandt,” <EM><SPAN style='FONT-FAMILY: \"Arial\",sans-serif'>Dutch and Flemish etchings, engravings, and woodcuts, ca. 1450-1700</SPAN></EM> (Amsterdam: M. Hertzberger, 1969).<?xml:namespace prefix = \"o\" ns = \"urn:schemas-microsoft-com:office:office\" /><o:p></o:p></SPAN></P>, no. 78","date":1969,"id":6590,"uri":"https://search.worldcat.org/title/8532176"},{"boilertext":"Clendenin J. Ryan, <EM>Engravings, woodcuts, and etchings: masterpieces by Schongauer, Dürer, Van Dyck, Rembrandt, Meryon, Zorn, a small group of English 18th century mezzotints&nbsp; and stipple engravings in color, the entire print collection of the late Clendenin J. Ryan </EM>(New York: Parke-Bernet Galleries, 1940).","citation":"Clendenin J. Ryan, <EM>Engravings, woodcuts, and etchings: masterpieces by Schongauer, Dürer, Van Dyck, Rembrandt, Meryon, Zorn, a small group of English 18th century mezzotints&nbsp; and stipple engravings in color, the entire print collection of the late Clendenin J. Ryan </EM>(New York: Parke-Bernet Galleries, 1940)., no. 160","date":1940,"id":6454,"uri":"https://search.worldcat.org/title/14063962"},{"boilertext":"<P class=MsoNormal style=\"MARGIN: 0in 0in 0pt; LINE-HEIGHT: normal; mso-margin-top-alt: auto; mso-margin-bottom-alt: auto; mso-outline-level: 1\"><SPAN style='FONT-SIZE: 9pt; FONT-FAMILY: \"Arial\",sans-serif'>Erik&nbsp;Hinterding and Jaco Rutgers, Ger Luijten, ed., \"Rembrandt,\" <EM><SPAN style='FONT-FAMILY: \"Arial\",sans-serif'>New Hollstein Dutch &amp; Flemish etchings, engravings and woodcuts, 1450-1700 </SPAN></EM>(Ouderkerk aan den Ijssel: Sound &amp; Vision Publishers ; Amsterdam: In co-operation with the Rijksprentenkabinet, Rijksmuseum, 2013).<?xml:namespace prefix = \"o\" ns = \"urn:schemas-microsoft-com:office:office\" /><o:p></o:p></SPAN></P>","citation":"<P class=MsoNormal style=\"MARGIN: 0in 0in 0pt; LINE-HEIGHT: normal; mso-margin-top-alt: auto; mso-margin-bottom-alt: auto; mso-outline-level: 1\"><SPAN style='FONT-SIZE: 9pt; FONT-FAMILY: \"Arial\",sans-serif'>Erik&nbsp;Hinterding and Jaco Rutgers, Ger Luijten, ed., \"Rembrandt,\" <EM><SPAN style='FONT-FAMILY: \"Arial\",sans-serif'>New Hollstein Dutch &amp; Flemish etchings, engravings and woodcuts, 1450-1700 </SPAN></EM>(Ouderkerk aan den Ijssel: Sound &amp; Vision Publishers ; Amsterdam: In co-operation with the Rijksprentenkabinet, Rijksmuseum, 2013).<?xml:namespace prefix = \"o\" ns = \"urn:schemas-microsoft-com:office:office\" /><o:p></o:p></SPAN></P>, no. 274, p. 222","date":2013,"id":6453,"uri":"https://search.worldcat.org/title/844154989"},{"boilertext":"E. F. Gersaint and Adam von Bartsch, <em>Catalogue raisonné de toutes les estampes qui forment l’oeuvre de Rembrandt et ceux de ses principaux imitateurs</em> (Vienne: A Blumauer, 1797).","citation":"E. F. Gersaint and Adam von Bartsch, <em>Catalogue raisonné de toutes les estampes qui forment l’oeuvre de Rembrandt et ceux de ses principaux imitateurs</em> (Vienne: A Blumauer, 1797)., no. 78","date":1752,"id":6382,"uri":"https://search.worldcat.org/title/323251"},{"boilertext":"\"Acquisitions 1969\", <EM>Record of the Art Museum, Princeton University</EM> 29, no. 1 (1970): p. 16-27.","citation":"\"Acquisitions 1969\", <EM>Record of the Art Museum, Princeton University</EM> 29, no. 1 (1970): p. 16-27., p. 25","date":1970,"id":3435,"uri":"https://www.jstor.org/stable/3774558"},{"boilertext":"Arthur Mayger Hind, <em>Rembrandt's etchings: an essay and a catalogue, with some notes on the drawings</em> (New York: Scribner, 1912).","citation":"Arthur Mayger Hind, <em>Rembrandt's etchings: an essay and a catalogue, with some notes on the drawings</em> (New York: Scribner, 1912)., no. 270","date":0,"id":6452,"uri":"https://search.worldcat.org/title/680842597"},{"boilertext":"George Biörklund and Osbart H. Barnard, Rembrandt's Etchings, True and False (Stockholm, New York [etc.], 1968).","citation":"George Biörklund and Osbart H. Barnard, Rembrandt's Etchings, True and False (Stockholm, New York [etc.], 1968)., no. 63","date":1968,"id":6474,"uri":"https://search.worldcat.org/title/10926"},{"boilertext":"Ludwig Münz, <em>Rembrandt's Etchings: Reproductions of the Whole Original Etched Work</em> (London: Phaidon Press, 1952).","citation":"Ludwig Münz, <em>Rembrandt's Etchings: Reproductions of the Whole Original Etched Work</em> (London: Phaidon Press, 1952)., no. 223","date":1952,"id":6476,"uri":"https://search.worldcat.org/title/1534415"},{"boilertext":"<i>Princeton University Art Museum: Handbook of the Collections </i>(Princeton, NJ: Princeton University Art Museum, 2013)","citation":"<i>Princeton University Art Museum: Handbook of the Collections </i>(Princeton, NJ: Princeton University Art Museum, 2013), p. 321","date":2013,"id":1994,"uri":"https://search.worldcat.org/title/865020505"}],"nowebuse":"False","periods":[],"department":"Prints and Drawings","attribute_groups":[{"id":2199321,"term":"European Art","termtype":"Collecting Area"},{"id":2199327,"term":"Prints and Drawings","termtype":"Collecting Area"}],"daterange":"A.D. 1600-1700","dateend":1655,"depicted":[],"titles":[{"title":"Christ Crucified between the Two Thieves (The Three Crosses)","titletype":"Primary Title","displayorder":1}],"hasimage":"true","creditlinerepro":"","objectnumber":"x1969-310","inscribed":"Signed in plate: Rembrandt f. 1653","texts":[{"texttype":"Online","textpurpose":"Gallery Label","textentryhtml":"\r\nRembrandt’s genius as a printmaker and skill as an interpreter of the Bible coalesce in <I>The Three Crosses</I>. One of the artist’s greatest works in any medium, this powerful and profound depiction of the Crucifixion demonstrates his expressive use of drypoint, which he began adding to his etchings in the 1640s. He was the first artist to fully exploit the dark, velvety richness and painterly effect of this technique, created by the inked burr, or metal residue, left by the fine lines scratched directly into the copper plate with a needle. Using the burin, or engraving tool, in conjunction with drypoint, Rembrandt obscured much of the foreground action with a driving black rain of long slanting strokes. Vast, apocalyptic beams of light pierce the leaden sky, falling on the crucified Christ—the emotional and compositional focus of the scene.</P></SPAN>","remarks":"K1-3 rotation"},{"texttype":"Online","textpurpose":"Handbook Entry","textentryhtml":"\r\nRembrandt’s genius as a printmaker is illustrated in his use of drypoint, which he began adding to his etchings in the 1640s. He was the first artist to fully exploit the dark velvety richness and painterly effects of drypoint, created by the inked burr, or metal residue, left by the fine lines scratched directly into the copperplate with a needle. In spite of the fragility of the burr, which wears down quickly with each impression, Rembrandt employed drypoint with increasing frequency, and almost exclusively in several masterpieces from the 1650s, including <I>The Three Crosses</I>. One of Rembrandt’s greatest works in any medium, this profound and powerful interpretation of Christ’s crucifixion &shy;underwent an unusually drastic conceptual and physical reworking, as represented in this impression of the fourth state. </P>\r\nRembrandt’s previous version of <I>The Three Crosses</I>, dated 1653 in the third state, depicts the moment of Christ’s death and the revelation of his divine nature, which, as described in Luke’s Gospel (23:44–8), occurred during the \"darkness [that] fell over the whole land.\" Here, in the even darker and more pictorial fourth state, Rembrandt vigorously scraped away and burnished large portions of the plate, changing some of the bystanders and altering Christ’s facial expression so that now he is shown suffering on the cross before his death — at the moment when, according to Matthew (27:45–46), he cried out, \"My God, my God, why hast thou forsaken me?\" Using the burin, or engraving tool, in conjunction with drypoint, Rembrandt obscures much of the anecdotal incident with a driving black rain of long slanting strokes, heightening the violent contrasts in illumination. Vast, apocalyptic beams of light pierce the leaden sky, falling on the crucified Christ — the emotional and compositional focus of the scene. </P></SPAN>","remarks":null}],"datebegin":1653,"sortnumber":"1969  310x","published_date":"2026-04-07 02:00:18.216188","objectid":11023,"dimensions":"plate: 38.5 x 45.0 cm. (15 3/16 x 17 11/16 in.) \r\nsheet: 43.4 x 48.4 cm. (17 1/16 x 19 1/16 in.)","on_view":false}