Rembrandt began tomake landscape paintings at the end of the 1630s. The only one of his landscapes set at night, Landscape with the Rest on the Flight to Egypt is a Biblical scene depicting Joseph and his family fleeing King Herod. It was conceived in relation to a print by Hendrick Goudt, another artist of the Dutch Golden Age.
1630年代末伦勃朗开始绘制山水画。《逃往埃及途中的小憩风景画》是其唯一一幅背景设定在夜间的风景画，它描绘了圣经中约瑟夫和他的家人逃离希律王的场景。人们认为它与另一位荷兰黄金时代的画家亨德里克·古德的版画有关。
Rembrandt’s borrowing was not due to lack of imagination, but in the spirit of dialogue with his forebears, showing how the power of the scene could be enhanced with the techniques he was developing. Rembrandt’s use of light in this painting is particularly enchanting. He uses highlights to accentuate the light’s echoes and reflections, comparing two very different light sources—the warm hues of the fire around which Joseph and Mary huddle with the Child, and the cool and eerie light of the moon. Even in the shadows on their faces and backs, greens and blues settle, seeping in from the surrounding wilderness and emphasizing their vulnerability.
伦勃朗借鉴古德，并不是因为他缺乏想象力，而是本着与前辈对话的精神，表明通过自己发展的技术可以让该场景变得更有力。伦勃朗在这幅画中对光的使用尤其迷人。他使用高光强调了光线的回声和反射，并将两种截然不同的光源进行了比较—约瑟夫，玛丽与孩子蜷缩在拥有温暖色调的篝火旁，以及阴冷又恐怖的月光。甚至在他们脸和背的阴影中，绿色和蓝色并存，从周围的荒野向他们渗入，借此强调了约瑟夫一家人的脆弱。
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