Self Portrait with Dishevelled Hair
Rembrandt
REMBRANDT, 1628. OIL ON OAK WOOD.
Few painters documented themselves as prolifically and honestly as Rembrandt. More than 70 self-portraits are known, not including the numerous works of biblical stories where he inserted his image as a bystander, a saint, or a historical figure. He spent hours staring into a mirror, contemplating his face and the minutiae of changes different expressions produced – often using these as studies for larger works. He was, in this way, his own muse, finding inspiration for soaring works of religious significance in the lines of his mouth and the lilt of his face. Yet this work, early in his oeuvre, is something altogether different. It is not preparatory or in service of a greater work but a complete artwork in its own right. The artist is in shadows, quiet contemplation looks out from his eyes as if asking the viewer for reassurance of the painting’s quality. As Rembrandt aged, his self-portraits became more explicit, more comfortable in the bright light that revealed the intricacies of his character, yet here there exist a youthful lack of surety that retreats into the safety of darkness.