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How did Rembrandt use drawing as a teaching tool and a way to experiment?

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Watercolor painting by Berthe Morisot showing Edma seated on a sofa in a floral dress with her young daughter Jeanne beside her, both facing slightly right. — Drawing *The Artist's Sister, Edma, with Her Daughter, Jeanne*, watercolor over graphite on paper by Berthe Morisot, 1872; in the collection of the National Gallery of Art, Washington, D.C.

Rembrandt utilized drawing as a fundamental component of both his pedagogical approach and his personal artistic development.

Drawing as a Teaching Tool

In his studio, Rembrandt employed drawing as a primary method for training his pupils. Following the common practice of 17th-century studios, students learned by copying their master’s works and subsequently creating free variations based on them. This process allowed apprentices to internalize his techniques and compositional strategies. As his reputation grew, he attracted numerous ambitious students, and the sale of these pupils' works, alongside tuition fees, contributed significantly to his income.1

Drawing as Experimentation

For Rembrandt, drawing served as a vital space for practice and study, often acting as a precursor to his paintings and etchings. His approach to drawing was characterized by a "conscious search" in narrative and pictorial terms. He frequently utilized a combination of techniques, such as pen and brush, to explore spatial depth and the effects of light and shadow. By integrating these mediums, he could experiment with atmospheric phenomena and tonal unity, pushing the boundaries of the medium to achieve a painterly quality. These drawings were not merely preparatory sketches but were highly valued by contemporary collectors as significant works in their own right.234