A variety of insights can be gained by examining a set of states, depending on the subject matter of the work, as well as the degree and nature of the changes made. To begin, we will consider Clement de Jonghe (1651), a simple portrait of Rembrandt's friend and print seller.
This portrait of the print seller Clement de Jonghe exists in six total states, four of which are part of the Old Master Prints and Drawings collection at the National Gallery of Art, Washington. Below, at left, we see state i/vi, with loosely hatched shadows and roughly hewn hands. In the center, we see a counterproof of state ii/vi, with softer shadows across the face. As right, we see state iv/vi, where contrast has been enhanced, the face is more refined and subtle, and the sitter has a more defined presence. One wonders if the refinements to the face were decided by Rembrandt himself, or if Clement de Jonghe desired to look younger and more dignified than he is pictured in states i/vi and ii/vi. Certainly, we can see how changed in lighting between these states and state iv/vi make for a more dramatic and realistic portrait. The shadow of the hat's brim cast across de Jonghe's face makes him appear wily and wry. His eyebrows suddenly stand out, giving him more expression. His hat and cloak stand out stronger from the background, in turn giving him a stronger presence in the portrait. In state iv/vi, we can see the beginnings of an arch sketched out along the top edge, echoing the curves of the hat and enclosing de Jonghe in a more intimate setting. His shadow in the lower-left corner is made stronger, anchoring him and balancing the negative space in the opposite corner. Even in this simple portrait, there are many decisions being made that humanize the sitter and please the viewer.
In a very different kind of portrait, Christ Presented to the People: Oblong plate (1655), Rembrandt sought to depict Jesus Christ as he was brought out to a crowd before his crucifixion. With a more somber subject, there was likely a different intent for how the viewer should engage the work. On the left, we see state v/viii, already well along in the creative process. Still, we notice some unfinished parts - most notably, Christ. As with the work Christ at Emmaus: the Larger Plate (1654), Christ is not fully detailed in the first (and in this case, fifth) state. Details of Christ on the balcony are shown below. We can see that, in fact, Christ is still merely outlined in state v/viii, despite being the central figure of the work. It suggests that Rembrandt had serious trouble depicting Christ, although by the final state we can see a gaunt and weary Christ standing at the edge of the balcony. The most obvious change between these states, however, is the removal of over half of the crowd from the ground level, replaced by two black pits. This serves several functions, perhaps the most important of which is to bring us into the scene - to make us members of the crowd from state v/viii. Rembrandt clearly wanted people to engage with this work and meld with it, as opposed to viewing it from afar. By removing the crowd, we are left to confront Christ ourselves.
Traveling chronologically from this work, we arrive at The Entombment (c. 1654). Christ is laid to rest in a cave after the crucifixion (a subject explored by Rembrandt in Christ Crucified between the Two Thieves (The Three Crosses) (1653), another multi-state work). The Entombment is quiet and somber, with shadows crawling across the cave wall and each figure's head lowered. The difference between state i/iv and ii/iv, though, is immense. What begins with coarse hatching and dramatic shadows is plunged into blackness. There is so much ink on state ii/iv that it truly appears more like a painting than an etching or engraving. Rembrandt has used the absolute minimum amount of light to illuminate one of the darkest biblical scenes. What the viewer may notice in state ii/iv becomes more apparent in the final state, which is that the light (coming from somewhere obscured on Christ's body) is the focal point of the work. Every figure in the cave is looking into the light, not into the face of Christ. The meaning of the piece becomes more complex with just this change in lighting. Somehow, those present at Christ's burial were not rapt by his face, his human form, but instead by his light, his essence.
Rembrandt is able to alter the way that the viewer engages with his works through changes in composition and lighting, in remarkably effective ways. While we could appreciate the final states of each work and perhaps note that the lighting and composition serve them well, it is not set out that way from the beginning. We may not know whether these changes were made because Rembrandt was refining the works to be closer to an ideal image in his mind, or if his own views changed over time and he corrected these works to match. Regardless, we can see how he made discrete decisions about his works to change their tone, and even their message. This, alone, is worthy of contemplation.
Rembrandt is able to alter the way that the viewer engages with his works through changes in composition and lighting, in remarkably effective ways. While we could appreciate the final states of each work and perhaps note that the lighting and composition serve them well, it is not set out that way from the beginning. We may not know whether these changes were made because Rembrandt was refining the works to be closer to an ideal image in his mind, or if his own views changed over time and he corrected these works to match. Regardless, we can see how he made discrete decisions about his works to change their tone, and even their message. This, alone, is worthy of contemplation.