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paint treatment is varied, according to the strength of the light. With thick pasty paint, he depicts the spot where the light first hits him, at the neck, where the sheen of his coat is almost as white as his collar. The neck and earlobe are also painted with thick pasty paint. More towards the shadow, however, the paint surface becomes thinner. The highlight on the nose, which is further away from the light source, is the least pasty. The texture of the paint is also more refined there. The transparent way in which
Rembrandt works out the light on his curly hair is striking. To occasionally lift a hair, he uses the back of his brush, scratching the still-wet paint with it. Equally unusual is his attention to the largely backlit wall in the background: the texture of the paint is used to suggest a plastered wall, which he elaborates with short pasty touches, sometimes almost revealing the light background. The surface is covered with a variety of paint textures, with which Rembrandt approaches reality with great accuracy and, at only twenty-two years old, already shows his extraordinary technical skill.
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Self-portrait at an early age shows the artist in a relaxed state. With that, the portrait is clearly not a tronie, focused on the study of faces. Rembrandt, early in artistic development, concentrates mainly on the effect of light and how it falls on various materials, including the skin and the
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No painter of the 17th century is known to have more self-portraits than
Rembrandt. He made 40 self-portraits in paint, 31 etchings and dozens more drawings of himself; not including the numerous times he featured himself in Bible and history paintings. This self-portrait is the earliest known of
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The angle of lighting in the work is far from usual. The figure leaning to the left is illuminated from behind by a strong flood light. The light shines only on part of the shoulder, the neck, the right ear and the jaw, and through the cheek a little more on mouth and on the tip of the nose. The
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with which he tried out facial expressions, which he later used in larger works. Especially where difficult expressions were concerned, he could endlessly study his facial expressions in the mirror. The painting discussed here also clearly carries elements of a study.
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wall; practising the technique of chiaroscuro. The eyes, surely the most prominent part of the face, and the forehead, fall completely into shadow. At first, it is hardly noticeable that the painter is looking the viewer directly in the eyes.
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A year after the completion of this work, in 1629, Rembrandt painted another similar self-portrait, the face slightly differently lit, now belonging to the collection of the
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Rembrandt. Many of
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22.6 cm × 18.7 cm (8.9 in × 7.4 in)
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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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910:The Archangel Raphael Leaving Tobias' Family
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343:"Rembrandt van Rijn - Artists - Rijksstudio"
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678:The Anatomy Lesson of Dr. Nicolaes Tulp
316:"Self-portrait at the age of 22 541107"
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574:Suffer little children to come unto me
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128:. The painting has been in the
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1571:Self-Portrait at the Age of 63
1555:Self-Portrait with Two Circles
1491:Self-Portrait at the Age of 34
1316:Portrait of Jacob de Gheyn III
1266:The Return of the Prodigal Son
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670:Andromeda Chained to the Rocks
248:List of paintings by Rembrandt
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1348:Portrait of Marten Soolmans
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1018:The Holy Family with Angels
1002:The Woman Taken in Adultery
950:The Girl in a Picture Frame
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958:The Scholar at the Lectern
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1292:Portrait of Nicolaes Ruts
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702:Old Man with a Gold Chain
598:The Baptism of the Eunuch
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371:Google Arts & Culture
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1420:Portrait of Dirck van Os
1340:Oval Portrait of a Woman
942:Still Life with Peacocks
854:The Entombment of Christ
654:Anna and the Blind Tobit
638:The Artist in his Studio
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1274:Landscape with a Castle
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718:The Abduction of Europa
1380:Portrait of Maria Trip
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886:The Blinding of Samson
806:Descent from the Cross
766:Descent from the Cross
662:The Raising of Lazarus
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1098:Bathsheba at Her Bath
726:Adoration of the Magi
622:The Flight into Egypt
367:"Rembrandt up close!"
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1856:The Rembrandt Affair
1840:Rembrandt's J'Accuse
1800:Rembrandt fecit 1669
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846:The Rape of Ganymede
758:Raising of the Cross
480:at Wikimedia Commons
295:Rembrandt by himself
231:Prince Bernhard Fund
227:Rembrandt Foundation
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1308:Portrait of a Woman
870:The Standard Bearer
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686:Christ with a Staff
424:National Geographic
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1824:Stealing Rembrandt
1811: (1995 novel)
1808:The Anatomy Lesson
1447:Rembrandt Laughing
982:David and Jonathan
814:Belshazzar's Feast
646:Samson and Delilah
590:Balaam and the Ass
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452:. Retrieved
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403:. Retrieved
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374:. Retrieved
370:
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350:. Retrieved
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323:. Retrieved
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104:
1835:(2007 film)
1827:(2003 film)
1803:(1977 film)
1747:Works about
1677:(1647–1649)
1590:(including
1558:(1665–1669)
1269:(1662–1669)
1069:(1650–1652)
1029:(1645–1648)
729:(1632–1633)
400:Rijksmuseum
347:Rijksmuseum
179: 1629
134:chiaroscuro
130:Rijksmuseum
86:Rijksmuseum
1941:Categories
1077:(c. 1652)
558:The Senses
454:2024-03-11
430:2024-03-11
405:2024-03-11
376:2024-03-11
352:2024-03-11
325:2024-03-11
303:1857092708
280:2024-03-11
205:Provenance
74:Dimensions
1919:Contested
1898:Rembrandt
1891:Rembrandt
1868:Namesakes
1816:Rembrandt
1784:Rembrandt
1776:Rembrandt
1768:Rembrandt
1749:Rembrandt
1566:(c. 1669)
1423:(c. 1662)
1284:Portraits
1245:(c. 1665)
1125:(c. 1655)
945:(c. 1639)
841:(c. 1635)
833:(c. 1635)
790:Artemisia
705:(c. 1631)
657:(c. 1630)
649:(1629–30)
617:(c. 1626)
561:(1624–25)
549:Paintings
537:paintings
520:Rembrandt
215:Sotheby's
126:Rembrandt
99:SK-A-4691
96:Accession
90:Amsterdam
40:Rembrandt
1893:(crater)
1642:The Mill
1592:etchings
1583:Drawings
1476:disputed
1474:(1635) (
1466:(c.1629)
1258:Lucretia
1234:Lucretia
1026:The Mill
533:etchings
237:See also
223:guilders
162:Painting
82:Location
63:Movement
1901:(train)
1237:(1664)
1109:(1655)
822:Minerva
745:(1633)
577:(1620s)
155:tronies
148:Context
124:artist
120:by the
68:Baroque
1733:(1655)
1725:(1654)
1717:(1653)
1709:(1652)
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1587:prints
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569:(1625)
301:
211:London
199:Munich
54:Medium
36:Artist
878:Danaë
782:Flora
254:Notes
1585:and
994:Ruth
992:and
990:Boaz
299:ISBN
49:1628
46:Year
197:in
1943::
539:,
535:,
531:,
447:.
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385:^
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176:c.
88:,
1594:)
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512:e
505:t
498:v
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185:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
