Young Man, Seated, in a Velvet Beret, after Rembrandt

Degas first developed an interest in Rembrandt after viewing his prints in the collection of the Bibliothèque Nationale, Paris, as a young man during the early 1850s. He spent time there sketching from the Dutch master’s works in order to refine his technique and record thematic inspiration for future production. Soon after, Degas moved to Italy and met the etcher Joseph Tourny, who instructed him in the technical aspects of printmaking and further encouraged him to emulate Rembrandt's style. Upon returning to Paris, Degas realized several prints after Rembrandt, producing works that—like this one—were more reinterpretations than direct copies. Young Man, Seated, in a Velvet Beret, after Rembrandt reverses the composition of Rembrandt's Young Man in a Velvet Cap (29.107.9) and excises all extraneous details to focus on the expressive, brooding subject. Degas' uneven application of ink to the surface of the copper plate renders the work unique in spite of its reproductive nature.