Portrait of Rembrandt

Historical Context

This Portrait of Rembrandt, attributed to the Rembrandt Workshop and dated 1650, belongs to the large body of self-portrait-related works produced in and around the master's studio — works that either reproduce, adapt, or reinterpret his own numerous self-examinations. Rembrandt produced more self-portraits than any other major European artist, and his example created a powerful workshop interest in the master's own physiognomy, which pupils and followers repeated and varied. Whether this is a workshop copy after a lost original, a studio exercise, or the product of a gifted follower working from the master's appearance, it participates in the Rembrandtian self-portrait tradition of unflinching, psychologically serious self-examination. The work documents both Rembrandt's physical appearance in middle age and the cult of the master within his own circle.

Technical Analysis

The portrait employs the characteristic Rembrandtian self-portrait format — the face three-quarters to the viewer, emerging from shadow — with warm direct light on the brow and cheek. The cap and collar receive broad, summary treatment, directing all attention to the powerfully characterised face.

Provenance

Chevalier Sébastien Érard [1752-1831], Château de la Muette, near the Bois de Boulogne, Paris; (his estate sale, at his residence by Lacoste and Coutelier, 7-14 August 1832 [originally scheduled for 23 April and days following], no. 119, as _Portrait de Martin-Kappertz-Tromp_). William Williams Hope [1802-1855], Rushton Hall, Northamptonshire, by 1836;[1] (his sale, Christie & Manson, London, 14-16 June 1849, 2nd day, no. 116, as a _Portrait of Admiral Van Tromp_); Sir Anthony Nathan de Rothschild, 1st bt. [1810-1876], London, and Aston Clinton House, near Aylesbury, Buckinghamshire; by inheritance to his wife, Lady Anthony de Rothschild [née Louise Montefiore, 1821-1910], London and Aston Clinton House; (Thos. Agnew & Sons, London); sold 13 May 1908 to Peter A.B. Widener, Lynnewood Hall, Elkins Park, Pennsylvania;[2] inheritance from Estate of Peter A.B. Widener by gift through power of appointment of Joseph E. Widener, Elkins Park, Pennsylvania; gift 1942 to NGA. [1] John Smith, _A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish and French Painters_, 9 vols., London, 1829-1842: 7(1836):86-87, no. 211. [2] A transcript of Agnew's bill, from the Widener Collection records, is in NGA curatorial files.

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