The Stoning of Saint Stephen

The Stoning of Saint Stephen by Rembrandt van Rijn, dated 1635, is a powerful example of the artist’s mastery of intaglio printmaking during the Dutch Golden Age. Executed as an etching, this print exemplifies the expressive potential Rijn found in working directly on the copper plate. The technique allowed the artist to capture instantaneous violence and dramatic light effects, crucial elements in depicting this intense biblical scene, which was created squarely within the period of 1601 to 1650.

The composition centers on the martyrdom of Saint Stephen, the first Christian martyr, who, having condemned the Sanhedrin, is being dragged outside the city walls to be stoned. Rijn emphasizes the brutality of the crowd, contrasting the frantic movement and dark shadows of the executioners with the serene, almost luminous figure of the martyr. Stephen is typically depicted kneeling, looking upwards toward the heavenly vision described in the Book of Acts. In this work, Rijn uses dense hatching and complex line work to build up deep pockets of shadow, reserving the brightest areas for Stephen himself, thereby maximizing the narrative drama. The scale of the figure relative to the background suggests the intense pressure and immediate danger facing the saint.

As a prolific producer of prints, Rijn ensured a wide distribution of his religious and genre subjects across 17th-century Europe. Although early prints of the work, like this specific etching held by the National Gallery of Art, are extremely rare, the enduring popularity of Rembrandt’s interpretation of scriptural events means that reproductions and high-quality digital versions of the piece are widely available. Given its age and established provenance as a product of the Dutch period, this significant work is often categorized within the public domain, making its study accessible for scholars and art enthusiasts worldwide. The NGA holds this impression as a key example of Rijn’s evolving graphic output.