How Much Is a Rembrandt Self Portrait at Indianapolis Art Museum Worth
| Self-Portrait | |
|---|---|
 | |
| Artist | Rembrandt van Rijn |
| Year | 1629 |
| Type | Oil on forest |
| Dimensions | 44 cm × 34 cm (17.five in × 13.5 in) |
| Location | Indianapolis Museum of Art, Indianapolis |
This 1629 self-portrait past Dutch painter Rembrandt van Rijn is part of the Clowes Fund Drove of the Indianapolis Museum of Art in Indianapolis, Indiana. It is amidst the primeval of over 40 self-portraits by Rembrandt (mayhap the commencement), which he produced over the course of iv decades.[1]
Clarification [edit]
This is a portrait of studied spontaneity. His parted lips, tilted head, and leaning posture all evoke a moment of surprise and sudden animation, crafting a more than dramatic encounter with the viewer. He wears what can all-time be described equally a costume, culled from his drove of studio attire. This includes a scarf, a cap pulled low to give Rembrandt a dramatic shadow over his brow, and a steel gorget with a shiny, oversized rivet. Since Rembrandt never served in the militia, the gorget is sheer affectation.[two]
Although he was only 20-three when he fabricated this painting, Rembrandt utilized an impressive array of creative techniques to fill it with emotion and drama. Already, his characteristic lighting and dense atmosphere are visible. He used nearly monochromatic hues and incisive brushwork, delineating individual strands of hair by scratching into the moisture pigment, to create this emotionally charged portrait. Studies such as this enabled him to create his afterward keen works of art, which portray then authentically the feelings of the subjects.[3]
Historical information [edit]
At the time of this portrait's creation, Rembrandt was however a young, uncelebrated painter in his hometown, Leiden. Working equally the main of his own tiny workshop, he honed his arts and crafts. Samuel van Hoogstraten, who studied with Rembrandt, later wrote a painting manual advocating self-portraiture as practice for capturing emotion, since it immune the painter to be "both performer and beholder." Rembrandt's followers incessantly emulated his self-portraits, creating a whole subgenre eagerly sought by collectors.[4] Some other, more quotidian explanation that has been offered for Rembrandt's predilection for self-portraits is that they eliminated the need to hire a professional person model, a factor that would accept been peculiarly highly-seasoned when he was a young, struggling artist.[5]
Attribution controversy [edit]
Rembrandt often used his self-portraits as teaching aids for his students, having them produce countless copies and variants both for their ain edification and because they sold quite well. There are no fewer than 5 copies of this particular painting, which has led to some contention regarding its attribution over the decades. Art historian Abraham Bredius, who discovered it in a castle near Lvov in 1897, first presented it every bit an accurate Rembrandt, but his definitive Rembrandt catalogue reversed that opinion in 1969. Other scholars weighed in on both sides, before and after a 1966 cleaning. Technical examinations including X-radiography in 1979 settled the matter, and the work is at present accepted as Rembrandt'south own. The X-radiographs revealed extensive pentimenti where Rembrandt altered the angles of his shoulders and head, and his hat'due south position. This indicates that the work is an original composition, rather than a mere copy.
There is further specific evidence in favor of this attribution which does not crave advanced equipment to discern. The painting bears the monogram RHL, which was used by Rembrandt during his years in Leiden. These initials were added when the pigment was even so moisture, and do not appear on any of the copies. Furthermore, this portrait includes several blemishes on Rembrandt'due south mentum. While he himself e'er recorded his face up with all its wrinkles and imperfections, his students tended to gloss over such evidence of humanity.[two]
Acquisition [edit]
Dr. G.H.A. Clowes purchased this painting in 1951, ending its circulation among the noble families of Poland. The Clowes family unit gave information technology to the IMA in 1959. It has the accretion number C10063 and is currently on view in the Clowes Pavilion.[1]
Meet as well [edit]
- Self-portraits by Rembrandt
References [edit]
- ^ a b "Self-Portrait". Indianapolis Museum of Art. Retrieved 25 April 2013.
- ^ a b Dickey, Stephanie S. (2006). Rembrandt Face to Face. Indianapolis: Indianapolis Museum of Art. ISBN0936260831.
- ^ 24-hour interval, Holliday T. (1988). Indianapolis Museum of Art Collections Handbook. Indianapolis: Indianapolis Museum of Art. ISBN0936260203.
- ^ Lee, Ellen Wardwell; Robinson, Anne (2005). Indianapolis Museum of Art: Highlights of the Collection. Indianapolis: Indianapolis Museum of Art. ISBN0936260777.
- ^ Ivy, Jeanne. "Self-Portrait as Cocky-Study". The Exploration of Cocky: What Artists Find When They Search in the Mirror. University of Maryland, Baltimore Canton. Retrieved 28 April 2013.
External links [edit]
- IMA page.
mccalebalidereces.blogspot.com
Source: https://en.wikipedia.org/wiki/Self-portrait_%28Rembrandt,_Indianapolis%29
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