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A Bearded Man in a Cap (after Rembrandt)
Thomas Gainsborough·1770
Historical Context
A Bearded Man in a Cap after Rembrandt, painted around 1770 and held in the Royal Collection, is Gainsborough's copy of the Rembrandt tronie now in the National Gallery — a direct act of artistic homage that documents his lifelong admiration for the Dutch master. Making copies of Old Masters was standard practice for eighteenth-century painters seeking to absorb earlier artists' technical lessons, but Gainsborough's choice to copy Rembrandt rather than the Italian masters favored by Reynolds reveals the nature of his deepest artistic sympathy. Where Reynolds looked to Raphael, Titian, and Michelangelo for guidance on ideal form and elevated subject matter, Gainsborough looked to Rembrandt for lessons in paint quality, atmospheric light, and the psychological depth that comes from honest observation of ordinary faces. His copy in the Royal Collection shows how thoroughly he internalized Rembrandt's handling while maintaining his own lighter, more atmospheric touch.
Technical Analysis
The copy demonstrates Gainsborough's study of Rembrandt's chiaroscuro technique, applying the Dutch master's lesson in warm, dramatic lighting to his own practice.
Look Closer
- ◆Notice this is a copy after Rembrandt — Gainsborough used such exercises to absorb the Dutch master's technique, particularly his mastery of chiaroscuro and richly textured paint surfaces.
- ◆Look at the dramatic warm lighting: the concentrated light source illuminating the bearded man's face while the rest falls into shadow demonstrates Gainsborough's study of Rembrandt's specific lesson.
- ◆Observe the textured paint surface — Gainsborough applied paint more thickly here than in his smooth portrait work, emulating Rembrandt's characteristic impasto.
- ◆Find the evidence of dialogue rather than mere copying: Gainsborough absorbed Rembrandt's chiaroscuro lesson and integrated it into his own practice throughout his career.
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