This marvelous exhibition of drawings and prints reveals anew why Rembrandt is always in vogue. Two stages of a Crucifixion scene have the freshness of Warhol: Funnels of divine light bathe Christ and the crowd beneath him, but the inking and re-etching of the plate for each impression imbues these chiaroscuro dramas with jagged, human imperfection—Hollywood directors would kill for such flair. Nor can Tinseltown top the master's contemplative print of Jan Lutma, which has the verisimilitude of a photograph but is built up from the carefully placed crosshatched lines that etching demands, giving it an emotional depth that comes from the artist's sustained observation of his subject. Soft light carves the septuagenarian silversmith's heavy face out of the dark background, his craftsman's hands at rest in the penumbra of his weary girth. Even more haunting is a sketch of a chained lioness that captures her distant gaze, and, in a few lithe charcoal lines, the predatory twitch of... More >>>