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of blurred brushstrokes. The relief of the paint creates reflections of light that simulate the tactile nature of flesh. Strokes of thick paint, warm in tone, pool up to represent areas of reflected light on the forehead, nose, and cheek. Adjacent to these passages, at the temple, around the furrows of the right eye and the wing of the nostril, are interstices of green-gray underpainting. The right eyeball is painted with a series of transparent glazes, atop which is placed a drop of white lead pigment for the highlight. This eye is surrounded by a complex variety of brushwork: the brow is formed by an uneven series of strokes; a single stroke designates the fold above the upper lid; the skin above the cheek is molded with a rounded brush; the wrinkles at the corner of the eye are denoted by a stroke of wet paint dragged over a dry underpainting. A blunt object, likely a brush handle, was used to accent a wrinkle beneath the eye, and to score into the wet paint of the hair, creating sharp curls against which the broader passages of hair recede.
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browns and grays, enriched by a red shape that probably indicates the back of his chair, while another red area at the lower left corner of the canvas may be a tablecloth. The most luminous area, the artist's face, is framed by a large beret and the high collar that flatteringly hides his jowls. The skin of the face is modeled with thick, tactile pigment, painted with rich and varied colors suggesting both the artist's physical aging and the emotional effects of life experience.
282:"The paint seems to have been applied, as it were, with a shaving brush". Although the painting's attribution has been questioned due to its freedom of execution, it is likely that Rembrandt chose to leave the canvas at an intermediate stage of development, for x-radiographs have revealed that other portraits by his hand have thickly applied passages that were subsequently worked over with thinner, more refined touches of paint. The palpable sense of plastic form in the face of
297:—was understood by some of Rembrandt's contemporaries. Even so, the dramatic differences between the paint application in the face and passages of the drapery and background are unusual for a late self-portrait. The overall impression is that of a complete work, one that presents the subject as marked by experience yet ultimately resolute in dignity.
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The painting's whereabouts are known from 1767, when it was owned by George, 3rd Duke of
Montagu and 4th Earl of Cardigan, and was then passed down to his daughter, Lady Elizabeth, wife of Henry, 3rd Duke of Buccleuch of Montagu House, London. It was then owned by John Charles, 7th Duke of Buccleuch,
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For all the rough dynamism of the painting's surface, there is no compromise in the illusion of atmospheric quality, as some passages are painted to appear in sharper focus, while others are less so; often this is the result of the variation between areas of densely impasted paint and those composed
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At first
Rembrandt painted himself wearing a light colored cap before opting for the black beret; since the original headdress was of a type that the artist included only in self-portraits where he is seen at the easel, it is possible that he initially intended for this painting to refer directly to
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Rembrandt is seated in a broadly painted fur cloak, his hands clasped in his lap. Light from the upper right fully illuminates the face, hollowing the form of the cheek, and allowing for the representation of blemishes on the right cheek and ear lobe. The picture is painted in a restrained range of
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Also reminiscent of the
Raphael painting are the positioning of the head and torso, unusual among Rembrandt's painted self-portraits. When painting himself, Rembrandt generally used the more convenient arrangement for a right-handed artist, placing the mirror to the left of the easel, so as not to
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The original support is a canvas of fine thread, and has been lined, with white lead applied to the rear of the lining. The painting has two grounds, one a thick red-brown, the other a thin gray. The figure was initially drawn with brown underpaint left exposed in several places, now abraded. The
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Less finished than many other self-portraits by
Rembrandt, the rich expressiveness of brushwork, especially in the face, has merited attention. In some passages the manipulation of pigment appears independent of the forms being described. For Rembrandt researcher
244:, that Rembrandt painted in which he is turned to the left, thus revealing more of the right side of his face. It has been suggested that this difference in angle was an intentional variation from the series of self-portraits he was painting at the time.
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face and hands are in good condition; extensively damaged areas in the figure and background have been covered with black overpainting, some of which was removed during a 1992 restoration.
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and was purchased in 1929 by Andrew W. Mellon, who left it to the A.W. Mellon
Educational and Charitable Trust in 1934. The painting was given to the National Gallery of Art in 1937.
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have his view impeded by his working arm and hand, with the left side of the face most prominently featured. There are several frontal self-portraits, but
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in
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254:, etching, 1639. This etching and the painted self-portrait of 1640 were inspired by paintings by Raphael and Titian.
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361:. Physical similarities suggest this dates from about the same time as the Washington portrait.
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derives from the same period as the more finished and identically titled canvas in the
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383:. The only other painted self-portrait in which Rembrandt is turned to the left.
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The practice of surface variation as a means of illusionism--"kenlijkheyt", or
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The pose is reminiscent of several earlier works by
Rembrandt, including an
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84.4 cm × 66 cm (33.2 in × 26 in)
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in London. Both earlier pieces have been viewed as referential to the
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Pendant portraits of
Maerten Soolmans and Oopjen Coppit
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Diana
Bathing with her Nymphs with Actaeon and Callisto
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is a 1659 oil on canvas painting by the Dutch artist
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840:Bust of a Man Wearing a Gorget and Plumed Beret
1717:Self-Portrait Wearing a White Feathered Bonnet
1757:Self-Portrait with Beret and Turned-Up Collar
1741:Self-Portrait in a Black Beret and Gold Chain
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640:Rembrandt's Journey: Painter•Draftsman•Etcher
352:Self-Portrait with Beret and Turned-Up Collar
337:Self-Portrait with Beret and Turned-Up Collar
284:Self-Portrait with Beret and Turned-Up Collar
259:Self-Portrait with Beret and Turned-Up Collar
238:Self-Portrait with Beret and Turned-Up Collar
134:Self-Portrait with Beret and Turned-Up Collar
105:Self-Portrait with Beret and Turned-Up Collar
22:Self-Portrait with Beret and Turned-Up Collar
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1144:The Archangel Raphael Leaving Tobias' Family
1705:Portrait of a Young Man with a Golden Chain
354:, National Gallery of Scotland, Edinburgh,
1404:Ahasuerus and Haman at the Feast of Esther
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2181:Paintings in the National Gallery of Art
1566:Portrait of a Man Rising from His Chair
912:The Anatomy Lesson of Dr. Nicolaes Tulp
718:Detail of face, National Gallery of Art
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808:Suffer little children to come unto me
592:"National Gallery, Conservation Notes"
1396:Moses Breaking the Tablets of the Law
642:. Boston, Museum of Fine Arts, 2003.
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252:Self-portrait Leaning on a Stone Sill
178:Self-Portrait Leaning on a Stone Sill
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1940:Descent from the Cross by Torchlight
1096:Samson Threatening His Father-In-Law
676:. Amsterdam University Press, 2000.
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1673:Self-Portrait with Dishevelled Hair
659:. New York, Watson- Guptill, 1975.
319:Related self-portraits by Rembrandt
1646:Portrait of a Man with Arms Akimbo
1428:The Conspiracy of Claudius Civilis
657:Painting Techniques of the Masters
221:Portrait of Baldassare Castiglione
187:Portrait of Baldassare Castiglione
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1773:Self-Portrait as the Apostle Paul
1372:Jacob Blessing the Sons of Joseph
1364:The Anatomy Lesson of Dr. Deijman
1168:Landscape with the Good Samaritan
703:, The World & I. January 2000
1996:Cultural depictions of Rembrandt
1781:Self-Portrait as Zeuxis Laughing
1268:Abraham Serving the Three Angels
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1956:The Virgin and Child with a Cat
1630:Portrait of Catharina Hooghsaet
1064:The Prodigal Son in the Brothel
976:The Storm on the Sea of Galilee
240:is one of only two, along with
1964:Christ Presented to the People
1805:Self-Portrait at the Age of 63
1789:Self-Portrait with Two Circles
1725:Self-Portrait at the Age of 34
1550:Portrait of Jacob de Gheyn III
1500:The Return of the Prodigal Son
1316:Aristotle with a Bust of Homer
904:Andromeda Chained to the Rocks
674:Rembrandt: The Painter at Work
616:"National Gallery, Provenance"
395:List of paintings by Rembrandt
1:
2029: (1954 documentary film)
1444:Syndics of the Drapers' Guild
1136:The Preacher Eleazar Swalmius
984:A Lady and Gentleman in Black
576:van de Wetering, 182-183, 221
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1128:Landscape with Arched Bridge
1072:Raising of the Cross (study)
968:The Shipbuilder and his Wife
864:The Parable of the Rich Fool
800:The Stoning of Saint Stephen
263:National Gallery of Scotland
2186:Self-portraits by Rembrandt
1598:Portrait of Petronella Buys
1582:Portrait of Marten Soolmans
1558:Aeltje Pietersdr Uylenburgh
1436:Saint Matthew and the Angel
1324:A Woman Bathing in a Stream
1252:The Holy Family with Angels
1236:The Woman Taken in Adultery
1184:The Girl in a Picture Frame
1160:The Wedding Feast of Samson
848:Tobit and Anna with the Kid
686:White, Christopher, et al.
197:A Man with a Quilted Sleeve
159:A Man with a Quilted Sleeve
114:self-portraits by Rembrandt
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2026:Rembrandt: A Self-Portrait
1836:Joseph and Potiphar's Wife
1452:Homer Dictating his Verses
1192:The Scholar at the Lectern
701:Rembrandt's Self-Portraits
16:Self-portrait by Rembrandt
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2082:I Am Rembrandt's Daughter
1991:Bibliography of Rembrandt
1697:Self-Portrait in a Gorget
1590:Portrait of Oopjen Coppit
1526:Portrait of Nicolaes Ruts
1484:Young Woman with a Lapdog
1412:The Denial of Saint Peter
944:Philosopher in Meditation
936:Old Man with a Gold Chain
832:The Baptism of the Eunuch
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444:October 14, 2009, at the
74:Dutch Golden Age painting
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1860:The Artist and his Model
1654:Portrait of Dirck van Os
1574:Oval Portrait of a Woman
1176:Still Life with Peacocks
1088:The Entombment of Christ
888:Anna and the Blind Tobit
872:The Artist in his Studio
690:. Yale University Press.
267:Self-Portrait with Beret
1868:The Death of the Virgin
1508:Landscape with a Castle
1380:Courtesan at her Mirror
952:The Abduction of Europa
706:(subscription required)
694:National Gallery of Art
530:van de Wetering 220-221
374:Self-Portrait as Zeuxis
242:Self-Portrait as Zeuxis
122:National Gallery of Art
92:National Gallery of Art
2196:17th-century portraits
1614:Portrait of Maria Trip
1300:Descent from the Cross
1276:Susanna and the Elders
1120:The Blinding of Samson
1040:Descent from the Cross
1000:Descent from the Cross
896:The Raising of Lazarus
670:van de Wetering, Ernst
653:Cooke, Hereward Lester
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1908:Hundred Guilder Print
1332:Bathsheba at Her Bath
960:Adoration of the Magi
856:The Flight into Egypt
699:Susan Fegley Osmond.
280:Ernst van de Wetering
269:in the Musée Granet.
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120:, it has been in the
2139:Vereniging Rembrandt
2090:The Rembrandt Affair
2074:Rembrandt's J'Accuse
2034:Rembrandt fecit 1669
1208:Concord of the State
1080:The Rape of Ganymede
992:Raising of the Cross
688:Rembrandt by himself
638:Ackley, Clifford S.
439:Susan Fegley Osmond.
1924:Goldweigher's Field
1900:Portrait of Jan Six
1622:Portrait of Jan Six
1542:Portrait of a Woman
1104:The Standard Bearer
928:Christ on the Cross
920:Christ with a Staff
553:van de Wetering 221
544:van de Wetering 220
2077:(2008 documentary)
2058:Stealing Rembrandt
2045: (1995 novel)
2042:The Anatomy Lesson
1681:Rembrandt Laughing
1216:David and Jonathan
1048:Belshazzar's Feast
880:Samson and Delilah
824:Balaam and the Ass
339:in Washington D.C.
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2053: (1999 film)
2021: (1942 film)
2013: (1940 film)
2005: (1936 film)
1948:The Three Crosses
1638:Portrait of a Man
1606:A Polish Nobleman
1534:Portrait of a Man
1388:Saint Bartholomew
763:Lists of drawings
112:, one of over 40
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1932:Doctor Fautrieus
1852:River with Trees
1460:The Jewish Bride
1340:The Polish Rider
1292:The Kitchen Maid
1152:The Stone Bridge
816:History Painting
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2141:(foundation)
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620:. Retrieved
596:. Retrieved
572:
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190:(Louvre) by
185:
177:
171:
157:
139:
133:
131:
124:since 1937.
104:
103:
102:
2069:(2007 film)
2061:(2003 film)
2037:(1977 film)
1981:Works about
1911:(1647–1649)
1824:(including
1792:(1665–1669)
1503:(1662–1669)
1303:(1650–1652)
1263:(1645–1648)
963:(1632–1633)
429:Ackley, 308
381: 1662
359: 1659
229: 1514
176:from 1639,
167: 1510
145:Composition
141:his trade.
128:Description
2175:Categories
1311:(c. 1652)
792:The Senses
633:References
622:2013-05-19
598:2013-05-19
567:Cooke, 222
518:White, 206
509:White, 204
495:White, 202
469:White, 200
310:Provenance
80:Dimensions
2153:Contested
2132:Rembrandt
2125:Rembrandt
2102:Namesakes
2050:Rembrandt
2018:Rembrandt
2010:Rembrandt
2002:Rembrandt
1983:Rembrandt
1800:(c. 1669)
1657:(c. 1662)
1518:Portraits
1479:(c. 1665)
1359:(c. 1655)
1179:(c. 1639)
1075:(c. 1635)
1067:(c. 1635)
1024:Artemisia
939:(c. 1631)
891:(c. 1630)
883:(1629–30)
851:(c. 1626)
795:(1624–25)
783:Paintings
771:paintings
754:Rembrandt
618:. Nga.gov
594:. Nga.gov
301:Condition
110:Rembrandt
40:Rembrandt
2127:(crater)
1876:The Mill
1826:etchings
1817:Drawings
1710:disputed
1708:(1635) (
1700:(c.1629)
1492:Lucretia
1468:Lucretia
1260:The Mill
767:etchings
442:Archived
389:See also
88:Location
69:Movement
2135:(train)
1471:(1664)
1343:(1655)
1056:Minerva
979:(1633)
811:(1620s)
273:Process
216:Raphael
192:Raphael
174:etching
1967:(1655)
1959:(1654)
1951:(1653)
1943:(1652)
1935:(1652)
1927:(1651)
1919:(1650)
1903:(1647)
1895:(1646)
1887:(1643)
1879:(1641)
1871:(1639)
1863:(1639)
1855:(1634)
1847:(1634)
1839:(1634)
1821:prints
1808:(1669)
1784:(1662)
1776:(1662)
1768:(1660)
1760:(1659)
1752:(1658)
1744:(1654)
1736:(1652)
1728:(1640)
1720:(1635)
1692:(1629)
1684:(1628)
1676:(1628)
1649:(1658)
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1625:(1654)
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1609:(1637)
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1569:(1633)
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1545:(1632)
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1529:(1631)
1495:(1666)
1487:(1665)
1463:(1664)
1455:(1663)
1447:(1662)
1439:(1661)
1431:(1661)
1423:(1660)
1415:(1660)
1407:(1660)
1399:(1659)
1391:(1657)
1383:(1657)
1375:(1656)
1367:(1656)
1351:(1655)
1335:(1654)
1327:(1654)
1319:(1653)
1295:(1651)
1287:(1648)
1279:(1647)
1271:(1646)
1255:(1645)
1247:(1645)
1239:(1644)
1231:(1643)
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1211:(1642)
1203:(1642)
1195:(1641)
1187:(1641)
1171:(1638)
1163:(1638)
1155:(1637)
1147:(1637)
1139:(1637)
1123:(1636)
1115:(1636)
1107:(1636)
1099:(1635)
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1059:(1635)
1051:(1635)
1043:(1634)
1035:(1634)
1027:(1634)
1019:(1634)
1011:(1634)
1003:(1633)
995:(1633)
987:(1633)
971:(1633)
955:(1632)
947:(1632)
931:(1631)
923:(1631)
915:(1631)
907:(1631)
875:(1628)
867:(1627)
859:(1627)
843:(1626)
835:(1626)
827:(1626)
819:(1626)
803:(1625)
680:
663:
646:
202:Titian
154:Titian
62:canvas
54:Medium
36:Artist
1112:Danaë
1016:Flora
401:Notes
1819:and
1228:Ruth
1226:and
1224:Boaz
678:ISBN
661:ISBN
644:ISBN
49:1659
46:Year
231:-15
200:by
132:In
60:on
58:Oil
2177::
773:,
769:,
765:,
672:.
655:.
607:^
581:^
558:^
535:^
523:^
500:^
474:^
452:^
408:^
378:c.
376:,
356:c.
226:c.
224:,
218:,
164:c.
162:,
156:,
94:,
1828:)
1712:)
746:e
739:t
732:v
625:.
601:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
