Selfportrait with beret and gold chain 1633 Muse

Self-portrait with beret and gold chain, 1633 Musée du Louvre Paris

רמברנדט הרמנזון ואן ריין Rembrandt Harmenszoon van Rijn (1669 באוקטובר 4 - 1606 ביולי 15) אומן הדפס ותחריט הולנדי , רשם , צייר Self portrait at an early age, 1628 -1629 Rijksmuseum Amsterdam

It wasn't until the nineteenth and twentieth centuries, when scholars studied Rembrandt's oeuvre as a whole, that it was discovered how very many times the artist had portrayed himself. The number is still a matter of contention, but it seems he depicted himself in approximately forty to fifty extant paintings, about thirty-two etchings, and seven drawings. It is an output unique in history; most artists produce only a handful of self -portraits, if that. And why Rembrandt did this is one of the great mysteries of art history. Most scholars up till about twenty years ago interpreted Rembrandt's remarkable series The Young Rembrandt as Democritus the Laughing Philosopher. ca. 1628 of self-portraits as a sort of visual diary, a forty-year exercise in self-examination. In a 1961 book, art historian Manuel Gasser wrote, "Over the years, Rembrandt's self-portraits increasingly became a means for gaining self-knowledge, and in the end took the form of an interior dialogue: a lonely old man communicating with himself while he painted. "

Self-portrait, ca. 1628 -1629 Rijksmuseum Amsterdam

Self-portrait with gorget, ca. 1629 (1628 -1630) Germanisches National museum Nuremberg

Rembrandt with Bushy Hair and a Small White Collar, 1630 British Museum London.

Rembrandt with Haggard Eyes, 1630 Recent scholarship has shed additional light on Rembrandt's early self-portrayals. Quite a few, it is argued, were tronies--head-and-shoulder studies in which the model plays a role or expresses a particular emotion. In the seventeenth century there was an avid market for such studies, which were considered a separate genre (although for an artist they also served as a storehouse of facial types and expressions for figures in history paintings). Thus, for example, we have four tiny etchings from 1630 that show Rembrandt, in turn, caught in fearful surprise, glowering with anger, smiling gamefully, and appearing to snarl--each expressed in lines that themselves embody the distinct emotions. Rembrandt may have used his own face because the model was cheap, but perhaps he was killing two birds with one stone. The art-buying public--which now included people from many walks of life, not only aristocratic or clerical patrons, as in the past-went for etchings of famous people, including artists. By using himself as the model for these and other studies, Rembrandt was making himself into a recognizable celebrity at the same time that he gave the public strikingly original and expressive tronies. The wide dissemination of these and other prints was important in establishing Rembrandt's reputation as an artist.

Self Portrait as a Beggar, 1630 Rijksmuseum, Amsterdam

Self portrait with beret and pleated shirt, 1630 National museum Stockholm

Self Portrait with Beret and Gold Chain, C. 1630 -31 Walker Art Gallery , England

Self Portrait with a Cap, openmouthed, 1630 Rijksmuseum Amsterdam

Self-portrait in oriental attire with poodle, 1631 -1633 Musée du Petit Palais Paris

Rembrandt Self Portrait, 1632 Monte Carlo Art SA Self-portrait, 1632 Glasgow Art Gallery and Museum , Scotland

Self Portrait, c. 1633 Staatliche Museen zu Berlin , Germany

Self-portrait with gold chain, 1633 Musée du Louvre, Paris

Rembrandt in Cap and Scarf, 1633

Rembrandt with a Drawn Saber, 1634 Rijksmuseum Amsterdam

Self-portrait with beret, 1634 Gemäldegalerie Berlin

Self Portait with Helmet, 1634 Staatliche Kunstsammlunen, Kassel , Germany

Self Portrait, c. 1635 -1638 Self Portrait, c. 1635 -1636 Mauritshaus , Netherlands

Self Portrait, circa 1633 -1637

Self-Portrait, mid 1630 s Metropolitan Museum of Art, New York

Self-Portrait, c. 1637 National Gallery of Art, Washington DC

Rembrandt in Velvet Cap and Plume, 1638

Rembrandt with a Flat Cap and Slashed Vest, 1638

Self-Portrait Leaning on a Stone Sill, 1639

Portrait Of The Artist In A Flat Cap, 1642

Rembrandt drawing at a window, 1648 Rijksmuseum , Netherlands

. הוכרז רמברנדט פושט רגל 1654 - ב Self Portrait, 1654 Staatliche Kunstsammlunen, Kassel , Germany

Many of the traditional studies focused particularly on Rembrandt's late self-portraits, as they reveal this rigorous self-reflection most profoundly. In an influential 1948 monograph on the artist, Jacob Rosenberg wrote of the ceaseless and unsparing observation which [Rembrandt's self-portraits] reflect, showing a gradual change from outward description and characterisation to the most penetrating self-analysis and self-contemplation. . Rembrandt seems to have felt that he had to know himself if he wished to penetrate the problem of man's inner life. Self-Portrait, c. 1655 Kunsthistorisches Museum, Vienna

• . Self portrait in studio attire, ca. 1655 The Rembrandt House Museum, Amsterdam

רכושו של רמברנדט 1657/8 - הוחרם ונמכר עם ביתו ב . אך חובותיו לא כוסו Self-portrait with beret and turned-up collar Or Self-Portrait, aged 51. 1657 or 1659 National Gallery of Scotland, Edinburgh

Self Portrait, 1658 Frick Collection, New York

A late self protrait by Rembrandt, Kenwood House, London.

Self Portrait with Beret, Unfinished, c. 1659 Musée Granet, Aix-en Provence

Meeting Market Demand? . . . art historian Ernst van de Wetering sets forth a view that has gained a number of adherents over the past few decades. The "self-portraits" (there was no such term in the seventeenth century) could not have been made for the purpose of self-analysis, he claims, because the idea of self as "an independent I who lives and creates solely from within" is one that arose only in the Romantic era, after 1800. In the literature of Rembrandt's day, he contends, personality was seen primarily as being bound to certain immutable types discussed in classical sources. He cites Hans-Joachim Raupp, an early exponent of this demythologizing view: When an artist of Rembrandt's day painted a self-portrait, he "did not step into the mirror with questions and doubts, but with a carefully planned programme. " Self-portrait, 1660 Metropolitan Museum of Art

Van de Wetering takes pages to build up his argument, but basically he sees that Rembrandt's "programme" in these selfportraits was to make paintings for which there was a ready market. (He points out that a detailed inventory of Rembrandt's possessions made in 1656, when he faced bankruptcy, included no portrayals of the artist by himself. ) In self-portraits, artists in Rembrandt's day and previous eras sometimes included a painting in the genre for which they were best known, as an example of their style. In the case of Rembrandt, he was most noted for his eccentricity of technique and for his tronies and depictions of one or a few figures. So, in making his self-portraits, which van de Wetering contends were probably all seen as tronies in their day, Rembrandt was making the kind of images art buyers expected of him, which had the added attraction of being depictions of their maker and exemplars of his unusual technique Self-portrait as the apostle Paul, 1661 Rijksmuseum Amsterdam

Self-portrait. Or Self-portrait as the painter Zeuxis, ca. 1662 Wallraf-Richartz-Museum, Cologne

: מקורות http: //he. wikipedia. org/Rembrandt http: //commons. wikimedia/Selfportraits by Rembrandt http//: www. Rembrandtpainting/Selfportraits Susan Fegley Osmond /Rembrandt's Self-Portraits / : המוסיקה J. Brahms/ Intermezzo Op. 117 No. 2 אסף פלר : עריכה Self-portrait, 1669 National Gallery, London