Today marks the would-be 404th birthday of prolific Dutch painter/etcher Rembrandt Harmensz van Rijn, who was born in Leiden in 1606, and passed away in Amsterdam on October 4, 1669.
Cynthia Freeland is Professor of Philosophy at the University of Houston. Her most recent book is Portraits and Persons, and in the excerpt below, she considers Rembrandt’s many self-portraits, and speculates as to why he was so attracted to this art form.
Rembrandt was a particularly prolific self-portrait artist. Susan Fegley Osmond informs us that,
he depicted himself in approximately forty to fifty extant paintings, about thirty-two etchings, and seven drawings. It is an output unique in history; most artists produce only a handful of self-portraits, if that. And why Rembrandt did this is one of the great mysteries of art history.
There are numerous speculations about Rembrandt’s preoccupation with self-portraiture. “From youth to old age, Rembrandt scrutinized himself before the mirror, painting, etching, and drawing his changing physique and physiognomy as well as the varying psychological states that reflected the fluctuating fortunes of his life.”
A first concern that seems evident in these works, as with the previous artists I discussed, is Rembrandt’s social status and his identity as a gentleman. This concern shows up in his elegant garb, cloaks, hats, armor, and even in the poses in some of the images. Along with this is a concern with his artistic status and success.
Another conjectures about at least some of the images is that they are studies for paintings. Rembrandt used himself because he was a cheap, readily available model when he was planning certain sorts of composite history paintings or biblical portraits. This might account for the self-portraits showing extreme facial expressions, ones for instance where he is laughing or fearful. But these may also have been examples of a genre called “tronies” which were popular at the time and had a good market.
At a deeper level, we can sense that Rembrandt is seeking to formulate and reveal a conception of his own psychological identity, the unique person that he was. This fits with the view expressed by Arthur Wheelock Jr., who notes:
[Rembrandt] was a singularly complex individual, who from an early age seems to have fostered the image that he was different from other men, and that neither his talent nore his success depended upon others or upon the good fortune that came his way.
Wheelock later comments,
Rembrandt’s earliest self-portraits are of particular interest because they demonstrate that the myth of Rembrandt as isolated genius did not first emerge in the Romantic era…but was fostered and developed by the artist himself.
Along these lines, art historians compare Rembrandt to more recent artists who have used the self-portrait as a form of experimenting with self-formation by trying on various identities (Rembrandt as the Andy Warhol of the seventeenth century!).
Like Cézanne more than two centuries later, Rembrandt employed the self-portrait as part of an effort to fashion the self, a s