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年代末倫勃朗開始繪製山水畫。《逃往埃及途中的小憩風景畫》是其唯一一幅背景設定在夜間的風景畫，它描繪了聖經中約瑟夫和他的家人逃離希律王的場景。人們認為它與另一位荷蘭黃金時代的畫家亨德里克·古德的版畫有關。
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.
倫勃朗借鑑古德，並不是因為他缺乏想象力，而是本著與前輩對話的精神，表明通過自己發展的技術可以讓該場景變得更有力。倫勃朗在這幅畫中對光的使用尤其迷人。他使用高光強調了光線的回聲和反射，並將兩種截然不同的光源進行了比較—約瑟夫，瑪麗與孩子蜷縮在擁有溫暖色調的篝火旁，以及陰冷又恐怖的月光。甚至在他們臉和背的陰影中，綠色和藍色並存，從周圍的荒野向他們滲入，藉此強調了約瑟夫一家人的脆弱。
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