Yesterday at the Rijksmuseum in Amsterdam, I took in the exhibit, “Alle Rembrandts” a stunning presentation of etchings, drawings and paintings by Rembrandt. Out of the estimated 340 Rembrandt paintings in the world, the Rijksmuseum has 22 of them, as well as safeguarding around 300 of his etchings.

Before I get side-tracked by details, the most important thing I took away from this exhibit was that Rembrandt’s work even today has the power to achingly empathize with the human condition. To call “Alle Rembrandt” an exhibit or a show is almost a misnomer, because the work’s motive is not to entertain, to fill time, or even to occupy wall space for the original wealthy collectors – although that may be why the original collectors bought the pieces. Its purpose was to pull the viewer in to himself or herself. On the subject of Rembrandt, Van Gogh wrote, “Rembrandt goes so deep into the mysterious that he says things for which there are no words in any language.”

I don’t cry easlily, but I was close to tears standing in the midst of these pieces.

Onto “Alle Rembrandt.” Here are some highlights:

Rembrandt’s “selfies,” a series of etchings where he experimented with capturing himself mugging various expressions: laughing, grimacing, wistfully staring into space, and many others. The tiny etchings are half the size of an iPhone screen or smaller. Amazingly deft and spontaneous. Included here is a small oil painting self portrait. Although much of his face is in darkness, everything you need to see and know is there. What an inventor!

“The Sampling Officials” or “The Syndics of the Drapers Guild” - or as I knew of them as a kid, the guys on the Dutch Masters cigar box. Rembrandt could have painted this commissioned group portrait by simply lining these cloth experts up around a table, but he instead created a dramatic scene and gave us a moment with six real people in 17th century Netherlands.

Just beautiful drawing. These drawings not only put to paper single figures and groups both from the streets and from historical moments, but demonstrate line work that is never redundant and always has a purpose, showing tension, connection and weight. These little drawings also work as one, unified expressive design.

Street people. Rembrandt really saw and captured the plight of the poor. It’s almost like seeing the streets of San Francisco 2019, but through the pen of Rembrandt.

The man with the flowing beard. I singled out these two etchings showing an old man looking downwards. What a masterful understanding and rendering of the human head!

Early vs. developing Rembrandt. The first picture shows the painting world Rembrandt came from: objects and people - a visual inventory of people and things. Rembrandt moved on from that. In the first painting there are lots of people and things. In fact, every square inch of the canvas is full of stuff. The second painting, done five years after the first, is “Welcome to Rembrandt World!” He has eliminated everything in the picture that isn’t about the subject. I included a close-up of the woman’s hands because they are beautiful.

Speaking of hands. “The Jewish Bride” also known as “Isaac and Rebecca,” utilizes the “language” of hands to undergird the story of the picture.

From the look of it, thousands pour through "Alle Rembrandt" on a daily basis. People are still looking for those things for which “there are no words.” And Rembrandt is still offering that to those who line up at the Rijksmuseum.