The Pharisees Debating (Fragment from the Hundred Guilder Print)

The Pharisees Debating (Fragment from the Hundred Guilder Print) by Rembrandt van Rijn and William Baillie is a pivotal example of 17th-century graphic art, combining intricate techniques characteristic of the Dutch Golden Age. Classified as a print, this piece utilizes etching, drypoint, and engraving on laid paper, demonstrating the complex methods used to achieve deep textural richness and stark contrast in tone. This work serves as a detailed fragment extracted from Rembrandt’s monumental original, often referred to as the Hundred Guilder Print (c. 1640-1649), which depicted Christ receiving the little children and preaching to the masses.

The subject matter focuses intensely on the cluster of religious scholars engaged in animated discussion, capturing the psychological weight of their theological debate. While the original design is attributed to Rembrandt, this specific iteration may be a later state, copy, or reworked fragment executed or completed by Baillie. The practice of re-engraving and publishing fragments allowed specific, dramatically powerful sections of large-scale prints to be isolated and celebrated independently.

Dating primarily within the period 1601 to 1650, this print reflects the era’s fascination with detailed biblical narratives and the mastery of light and shadow achieved through intaglio techniques. The careful manipulation of the needle on the copper plate by the Dutch master, later interpreted through the hands of Baillie, provides a powerful sense of form and volume. The close cropping elevates the tension, transforming a segment of a large crowd scene into a concentrated study of character.

This specialized example of graphic technique resides in the permanent collection of the National Gallery of Art. The accessibility of such historical prints ensures their continued study. Today, thanks to efforts preserving historic works, this piece is frequently found within the public domain, allowing scholars worldwide to examine the technical collaboration between Rembrandt's initial genius and Baillie's subsequent handling of the plate.