REMBRANDT VAN RIJN,Vintage Art Masterpieces,Vintage Prints for Sale Portrait of Himself by REMBRANDT VAN RIJN {Dutch School}

Portrait of Himself by REMBRANDT VAN RIJN {Dutch School}

Portrait of HimselfPortrait of Himself

by REMBRANDT VAN RIJN {Dutch School}

 

IN REMBRANDT’S portraits of himself, the world has the full history of an artist
who won and lost the material satisfactions of life, but gained, at last, the in­
effable comfort that settles on the soul of man when he has finished a great
work; when, without malice or reserve, he has given expression to his burdens,
and thus put them from him,

As a youth, he made countless studies of his face,
his intention being to show how the human countenance reflects the various
moods and passions; but all that is visible in those first studies is a tousled,
bull-necked young man acting before a mirror.

Next, he painted himself at the
flood of his prosperity, proud and cavalier, and once, holding Saskia on his
knee, with laughter in his face–his only happy portrait. In his last years­
for his imaginative life matured slowly, with his tribulations and the absolute
self-discipline enabling him to disregard everything extraneous to his purpose
-he arrived at the highest reaches of his genius and painted, in 1659, the
Portrait of Himself here reproduced.

 

(This Limited Edition Original Book Plate/Lithograph, May still be for sale ) see Our Sales sites

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It might be said of this picture that the language of paint is incapable of
further expansion; that it is impossible with pigment to achieve greater weight
and massiveness and plasticity, in the sculptural sense; or a more perfect
revelation of character-a character who stands like a rock before the world,
disillusioned but spiritually uncontaminated.

The picture is the work of the
greatest master of tone in all painting. Rembrandt understood, as no artist
before or since, the architectural value of light and dark masses, the structural
wholeness of forms composed of tones instead of contours and precise out­
lines. With a few colors and tints, reds and browns, grays running into blacks,
deep golden yellows and olive greens, he created pictures of supernatural
luminosity.

This picture is low in key, but it seems to be scooped out of an un­
fathomable mixture of radiance and shadow. After its completion, Rembrandt
worked on with urn-emitting discipline, pushing the medium of paint farther
and farther, laying the soul bare with a few strokes of the palette knife. In
1668, he painted the last of his self-portraits, a mask of colored mud laughing
at the world which had tried so many times to beat him. When death came, the
following year, it brought him no greater peace than the peace he had already
won.

 

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