NOTRE DAME, IN.- The Jack and Alfrieda Feddersen Collection of Rembrandt prints will make an encore appearance at the Snite Museum of Art September 3 through November 25. The exhibition of the renowned artist’s prints marks the publication of the first comprehensive catalog of the entire collection and the celebration of the University of Notre Dame’s 175th anniversary.

All 70 of Rembrandt’s etchings that comprise the Feddersen Collection will be displayed together, examining the sweep of historical, theological, and artistic impulses that informed the creation of the master’s religious and biblical prints. From Jacob’s anguish resulting from the betrayal of his children to the joyous epiphany of the coming of the Messiah and the depths of despair at the entombment, Rembrandt plumbed the range of human experience and faith through keen observational skills and a supreme mastery of technique. His depictions of intimate family scenes and profound psychological engagement still resonate with visitors today.

Prints by other old master artists, such as Albrecht Dürer and Lucas van Leyden, which have been recently added to the Snite Museum’s holdings, will be included to illustrate Rembrandt’s development as an artist and to highlight the contributions he made to the art and philosophy of his time.

Jack and Alfrieda Feddersen, collectors from Elkhart, first loaned their prints to the Snite Museum in 1981 shortly after the new building on the University’s campus opened. Wanting their collection to be studied and enjoyed by students, faculty, and the local community, the Feddersens donated their collection to the Snite Museum in 1991. The prints have been used by classes and exhibited to the public ever since then.

“Exhibitions of our Rembrandt prints have long been a favorite in our community, and we are delighted to give the collectors and the artist their due on the 175th anniversary of the University’s founding,” said Charles Loving, director of the Snite Museum.

Charles M. Rosenberg, professor emeritus of art history at the University of Notre Dame, wrote the insightful and lavishly illustrated catalog, telling the story of how the collection was formed and offering extensive analysis and interpretation of each of the prints in view of the religious turmoil prevalent in the Netherlands in the 1600s. Considering John Calvin’s sermons, the writings of contemporary rabbis, and Catholic Counter-Reformation teachings, Rosenberg sheds new light on Rembrandt’s provocative art.