Rembrandt: Painter as Printmaker. Jaco Rutgers and Timothy J. Standring. New Haven, CT: Yale University Press; Denver Art Museum, 2018. 184 pp. $45

The year opened with the final week of an exhibition at the Denver Art Museum of 129 works surveying the artist's prints—superb examples of his etchings, drypoints, and several engravings, together with seventeen drawings and four paintings—and illuminating his achievements in the print medium. Rather than presenting the prints in individual entries, the accompanying catalogue by Timothy Standring, curator of painting and sculpture at the Denver Art Museum, and Jaco Rutgers, coauthor of the The New Hollstein seven-volume catalogue raisonné of Rembrandt's etchings, is an extended essay that provides a detailed and thoughtful chronological study of Rembrandt's development as a printmaker, from his first attempts in about 1625 to his last etching from about 1665. The effect is to provide the reader with a sense of studying the artist at work from close at hand, following him line by line as he faces technical challenges and experiments with unusual effects to produce memorable images that collectors began admiring from very early in his career.