The activity of Rembrandt as a printmaker spans generally the period from 1626 to 1661. His ouvre amounts roughly to 320 works, including self-portraits, portraits or tronies, nudes, sketches, studies, landscapes, Bible and genre scenes, usually autonomous to his paintings and drawings. Rembrandt was a self-taught printmaker, all the way developing his technique, exploring the abilities of printmaking and customizing graphic art. In late 30s. and 40s. he began to create sophisticated works that combined etching with a drypoint and sometimes burin, while a rather soft type of etching ground. After 1650 there was a drastic change, however, and diagonally drawn lines became rough, crude and dry; a drypoint was used as rich enhancement of etching or on its own. Rembrandt's graphic ouvre represented a synthesis of the previous achievements, a creative experiment, testimony to the innovative technical and stylistic quests. The recent years have brought a significant development in the research into the printmaking of Rembrandt that perfectly reveals the complexity of his method as well as a new required standard of examination of the graphic works in general. In practice it means the well-known model: description, analysis, and interpretation, while the last one is additionally enhanced by new research perspectives. The fundamental elements remained the same, but all stages and descriptions are expanded due to the developed method and research apparatus, while ones of the most important became technical issues and the paper analyses related to the states of impressions and editions. A decade preceding the jubilee year of Rembrandt with its publications and exhibitions has not put the end to the research into Rembrandt's graphic ouvre. The issue here is not only to continue various perspectives of research, but first and foremost to conclude the basic research, including a compilation of a new descriptive catalogue of his prints.