Create in front of the mirror
Rembrandt's etched self-portrait
Through the relevant works that Jasic was able to shoot upwards, it shows the evolution of the Dutch master Rembrandt from a confident teenager to a depressed middle-aged self-examination, and looks back at the fate of his life
Few artists have portrayed complex mental states with such frequency and detail as Rembrandt Harmensz. van Rijn (1606-1669). He has created at least 40 self-portraits in front of the mirror and at least 32 etched self-portraits in his 30-year artistic career.
During London Classical Art Week, two etched self-portraits of the Dutch printmaker, cartographer and painter are presented.
Self-Portrait of a Bust with Curly Hair and a Collar, written circa 1630, sold in London in 2017 for £8,750
The self-portrait print is one of Rembrandt's earliest works, and this "Self-Portrait of a Bust with Curly Hair and a White Collar" was created around 1630, when he was living in Leiden in his early 20s. In the painting, he carefully depicts his young facial features, with curly hair, a correct posture, firm eyes, and a serious look. The whole painting uses only hatched and intersected hatch lines to create a chiaroscuro effect, revealing that the young Rembrandt has flexibly mastered the technique of etching printmaking.
Self-Portrait of a Half-Body with a Shouting Mouth, 1630, sold for £5,625 in Christie's London on 14 December 2017
Rembrandt explored the different emotions that facial expressions could display in the form of self-portraits during this period. These works perfectly interpret the different expressions of the artist himself shouting, laughing or frowning, not only showing his exquisite artistic skills, but also becoming his character study in the future large-scale religious or historical paintings.
The Beggar Sitting on the Embankment, painted in 1630, sold in Christie's London in 2017 for £20,000
The Half-Body Self-Portrait with the Open Mouth like a Cry (1630) is derived from the etched engraving The Beggar Sitting on the Embankment, created later that same year, and Rembrandt's Christ on the Cross (below), painted by Rembrandt, based on christ's painful expression.
Christ on the Cross
Although Rembrandt later ceased to focus on exaggerated expressions depicting human emotions, his self-portraits after 1630 continued to reveal his interest in portraying the character of the character. In 1631, Rembrandt moved to Amsterdam and soon became acclaimed artist and portrait painter.
Self-Portrait with Saskia, 1636, sold for £6,875 from 27 June to 3 July 2019
In July 1634, Rembrandt married Saskia van Uylenburgh, who later became one of his favorite models. Two years after their marriage, Rembrandt created his only two-person etching print with Sasquia, Self-Portrait with Sasquia, based on his 30-year-old self and his new wife.
Rembrandt loved role-playing, so only twice in his self-portraits did he portray himself as a contemporary Amsterdam gentleman. Both are dressed in classical costumes, and Rembrandt first depicts himself as an artist in the etching.
Self-Portrait of a Feathered Hat on His Head, circa 1638. Sold for £10,000 in Christie's London on 14 December 2017
Composed in 1638, Self-Portrait with a Feathered Velvet Hat, Rembrandt depicted himself wearing sixteenth-century costumes (fur-lined coats and feather hats) in an attempt to incarnate himself as a prominent artist of the Northern Renaissance.
Created 10 years later, "Etched Self-Portrait in Front of the Window" shows very different emotions. Rembrandt, dressed in plain clothes, sat in front of the copper plate, holding an etched steel needle in his hand, concentrating on studying himself in the mirror. These 10 years have changed a lot, With Shaschia's death in 1642 and his economic situation deteriorating, Rembrandt can be said to be doomed.
Etched Self-Portrait in Front of the Window. Etched prints and direct engravings, made in 1648, sold online for £10,625 from 27 June to 3 July 2019
If Rembrandt in "Self-Portrait with a Feathered Velvet Hat" is radiant and confident, then "Etched Self-Portrait in Front of the Window" shows his low-key simplicity in middle age. The shady interior scene is illuminated by only one light source, reminiscent of Rembrandt's 1642 etching of St. Jerome in the Dark Room (below). Rembrandt gradually engraved the plate, gently carved out the preliminary composition, and then added different levels of etching, direct engraving and engraving to create a rich contrast of light and shadow, until the fourth stage did not add the scenery outside the window.
St. Jerome in the Dark Room
The undulating landscape of the hills outside the window is more italian than the view of some low-lying areas like Rembrandt's brestraat studio in Amsterdam. It is conceivable that it is a work that combines his observations and knowledge and imagines it out of thin air. Although he never set foot in Italy and found it difficult to travel in the face of poor economic conditions, he seems to have shown through his works that this did not affect his creation.
The Etched Self-Portrait in Front of the Window is Rembrandt's depiction of himself in the process of creating in his everyday environment. This work became his self-affirmation in the face of adversity. Of Rembrandt's many etched self-portraits, this is probably the most personal and his last etching. (From: Christie's, Learning Reference)