Abstract
The Self-portrait in Vienna under consideration referred to hereafter as the Large self-portrait to distinguish it from the two other Rembrandt self-portraits in Vienna marks the beginning of what is usually referred to as Rembrandt’s late style. In what follows we shall be mainly concerned with analysing the pictorial means deployed, the painting’s iconography and its original size (see 2. Comments).
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Notes
This is also seen in the Portrait of Jacob Trip in London (Br. 314); see: exhib. cat. Art in the making, 1988/89, p. 122; Van de Wetering 1997, Chapter VIII, pp. 211–215.
See also Van de Wetering 1997, Chapter VIII, pp. 203–211.
Bauch 1966, 322.
See e.g. Ben. 1171. J.P. Filedt Kok, Rembrandt. Etchings and drawings in the Rembrandt house, Maarssen 1972, cat. no. 1.
P. Schatborn, ‘Tekeningen van Rembrandt in verband met zijn etsen’, Kroniek van het Rembrandthuis, 1986/1–2, pp. 1–38; see also M. Royalton-Kisch, ‘The role of drawings in Rembrandt’s printmaking’, in: E. Hinterding e.a. Rembrandt the printmaker, exhib. cat. Amsterdam, Rijksmuseum/London, The British Museum, 2000/2001, pp. 64–81.
Jan Sanders van Hemessen, The calling of Matthew, c. 1548, panel 114 x 137 cm; Vienna, Kunsthistorisches Museum, inv. no. 961.
Reynier van Gherwen, Young man with gorget and cap with feather, panel 113 x 81 cm; Vienna, Kunsthistorisches Museum, inv. no. 405. Sumowski Gemälde II, no. 821. This painting signed Rv Ghemf was also regarded as a work by Rembrandt at the time. In the Neu eingerichtes Inventarium (…), Vol. 1, 1720 (see 6. Provenance) it is described under no. 91 as ‘Ein Junges Mannes Portrait von Reinbrand’.
C. Hofstede de Groot, Die Handzeichnungen Rembrandts. Versuch eines beschreibenden und kritichen Katalogs, Haarlem 1906, p. 227, no. 994.
L.CJ. Frerichs, ‘Nieuw licht op een oud opschrift’, Kroniek van het Rembrandthuis 24 (1970), pp. 35–44. According to Filedt Kok, op. cit.4, the handwriting can be dated to the 18th century. Jaap van der Veen, however, dated it to the late 17th century.
Chapman 1990, p. 87.
H.-J. Raupp, Untersuchungen zu Künstlerbildnis und Künstlerdarstellung in den Niederlanden im 17. Jahrhundert, Hildesheim 1984, pp. 179–181.
Raupp op. cit.11, pp. 115–123, esp. 121–122.
J. von Sandrart, Teutsche Académie der Bau-, Bild-und Mahlerey-Künste, Nuremberg 1675, AR. Peltzer ed., Munich 1925, p. 217.
R. Peltzer, ‘Sandrart-Studien’, Münchner Jahrbuch der Bildenden Kunst, Neue Folge Band II (1925), pp. 103–165, esp. 103–128.
This is a Polish hat of a type that was widely worn in the Netherlands in the second half of the 17th century. Gerard Dou wears a hat of this kind in a self-portrait of 1663 (Sumowski Gemälde I, no. 304).
Sandrart-Studien’, Münchner Jahrbuch der Bildenden Kunst, Neue Folge Band II (1925) Peltzer, op. cit.14, pp. 118–122. In the case of the drawing of Barthel Beham, Sandrart did not follow the model he is believed to have used exactly, and added a hat.
J. Ingamells, The Wallace Collection. Catalogue of pictures Dutch and Flemish, IV, London 1992, inv. no. P173, pp. 300–301. See this catalogue for further provenance information.
Exhib. cat. Meisterwerke der Malerei aus Privatsammlungen im Bodenseegebiet, Bregenz 1965, no. 79.
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© 2005 Stichting Foundation Rembrandt Research Project
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(2005). Large self-portrait. In: A Corpus of Rembrandt Paintings. Rembrandt Research Project Foundation, vol 4. Springer, Dordrecht. https://doi.org/10.1007/978-1-4020-4441-0_13
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