The Omval, Rembrandt van Rijn, etching and drypoint, roughly 7 x 9 inches (19×23 cm); this printing is in the collection of the Metropolitan museum of Art, which has both a zoomable and downloadable version of the image.

Rembrandt was, in my opinion, the greatest master of etching and drypoint in history. Though many of his etchings were of a religious nature, here he has fun with a naturalistic riverfront scene.

The Omval is the name for a well-known spot along the Amstel River. A glorious tree dominates the scene; behind it we see sailboats and what appears to be a passenger ferry on the water. Across the river, we see elements of a town and a mill.

A man stands on the shore, facing away from us and toward the ferry, perhaps in conversation with someone on it.

What we don’t see at first are a pair of lovers that Rembrandt has nestled in the shadows of the great tree (images above, second from top).

The woman is facing to the left, her hand rests on her dress. The man sits behind her, to the left. It appears as though he has his arm raised above the woman’s head, his sleeve obscuring his own face.

Rembrandt has left much to the imagination, both visually and in possible implied narrative. We’re left to wonder if there is a relation between the lovers and the man on the shore, or perhaps someone on the ferry. We can also imagine they’re doing their very best to keep quiet.

The Omval, MetMuseum

Annie Haden, James McNeill Whistler, drypoint, roughly 19 x 13 inches (35 x 21 cm).

This printing of the plate is in the Smithsonian National Museum of Asian Art, which has both a zoomable and downloadable version of the file. (The museum has a collection of Whistler’s work, presumably in his role as an American artist who took much interest in and inspiration from Asian art, design and culture.) I’ve taken the liberty of lightening the image somewhat, so you can see the details better.

This is one of several etchings and drypoints Whistler made of his neice, Annie Haden, at verious ages. This one is a particularly beautiful and extensively refined composition. Annie is posed rather formally in a long cape and skirt; her head is tilted and she looks directly at the viewer.

I suppose you could interpret her expression in several ways, one of which might be tired resignation at the boring task of posing, yet again, for her uncle.

The print is a good example of Whistler’s mastery of subtle drypoint linework.

Drypoint is a printmaking technique related to — and often combined with — etching, in which lines are incised directly into the plate with an etching needle, rather being etched into the plate with acid. This often leaves a burr of metal at the side of the incised line, giving the lines a soft, slightly rough feeling.