Rembrandt employed his usual rather limited palette of lead white, ochres and red lakes. In this portrait some see weariness and resignation in his dark, rheumy eyes, some a trace of self satisfaction, others the hint of a wry, knowing smile. Others – such as the one he painted aged 34 – were apparently intended to enhance his image as an artist. He cont... A woman weeps on the steps of a shadowy temple, while members of the Jewish ruling council gather round. Self Portrait at the Age of 63. This is one of a pair of portraits of a husband and wife, one of the richest couples in the Netherlands. The National Gallery has two of them, separated by nearly thirty years. This is one of dozens of self portraits by Rembrandt. Self-Portrait at the Age of 63 is a self-portrait by the Dutch artist Rembrandt, now in the National Gallery, London. It wasn’t only light effects that he used to emphasise his face. The painting is full of pride beneath all his suffering; perhaps pride in his suffering - and pride in his art, which can make his image live like this. Despite his impending death, Rembrandt presents a self-assured and confident self… It was inherited by his nephew Alan Brodrick, 2nd Viscount Midleton, and remained at Peper Harow until auctioned by George Brodrick, 5th Viscount Midleton, in 1851, when it was bought for £430 10s by the National Gallery. The X-ray of the picture reveals two pentimenti (alterations to the design). He loves gold, bronze, brown - warm, living colors. By contrast his opponent is focused intently – perhaps even short-sightedly – on her hand, deliberating on how to play next. ), 1654. The sagging fold beneath his right eye is made with the swirl of a heavily-loaded brush. We not only reproduce every detail of the original painting, but to capture its soul. As a charity, we depend upon the generosity of individuals to ensure the collection continues to engage and inspire. About 80 survive from his 40-year career, far more than any other artist of his time. It was in the collection of William van Huls until sold at auction in London in 1722, and bought for £80 by Thomas Brodrick. The painting was investigated by the scientists of the National Gallery in London. But, though he is a Dutchman living in the 1640s, Rembrandt is wearing the clothes of a gentleman of the 1520s and his... Christ’s body has just been taken down from the Cross, and his family and followers mourn over him – a moment known as The Lamentation. He even painted a portrait of a philosopher: Aristotle Contemplating the Bust of Homer (1653), in the Metropolitan Museum of Art, New York, makes explicit the problems of memory, history, and selfhood that haunt every Rembrandt portrait. Self-Portrait at the Age of 63 is a self-portrait by the Dutch artist Rembrandt, now in the National Gallery, London. The dark picture is devoid of unnecessary details, but the saint’s traditional attributes are just about visible: an open book sits on the tab... A cold, grey light creeps through an open window into a room that is itself very old – no glass in the window, a heavy wooden shutter, an open fire with an earthenware pot beside it. The sagging fold beneath his right eye is made with the swirl of a heavily loaded brush. Thank you, you'll hear from uswhen we launch. "Rembrandt: The Late Works" at The National Gallery, London. Please try your search again later. was in his thirties and an important official in the Dutch East India Company. A prolific painter, draftsman, and etcher, Rembrandt van Rijn is considered the greatest artist of Holland's Golden Age. This is a part of the Wikipedia article used under the Creative Commons Attribution-Sharealike 3.0 Unported License (CC-BY-SA). But he changed his mind, apparently to avoid distracting the viewer from the detail of his face. Your recently viewed items and featured recommendations, Select the department you want to search in. First, a change in the size and colour of the beret, which was originally much larger and all white. Painting needs 3 weeks and shipping takes 1 week. The last three etchings date to 1648, c. 1651, and 1658, whereas he was still painting portraits in 1669, the year he died at the age of 63. Because of his empathy for the human condition, he has been called "one of the great prophets of civilization.". You are looking into the eyes of a man in the last year of his life. He died on 4 October 1669 and was buried in the Westerkerk in Amsterdam. Rembrandt depicts himself in deep red coat with fur collar and beret, looking out at the viewer with his hands clasped. The blemishes on his forehead are formed of blotches of coagulated paint. Rembrandt painted his own portrait frequently, from his amazing 1629 work The Artist in His Studio (in the Museum of Fine Arts, Boston, it shows the young painter standing back from his canvas in a moment of courage and dread, aware of the scale of his task) to this, one of his last paintings, done in the final year of his life. And Rembrandt’s motives may have been rather more straightforward, driven less by soul-searching and more by a professional fascination with the textures, flaws and subtleties of the human flesh. His self-portraits form a unique and intimate biography, in which the artist surveyed himself without vanity and with the utmost sincerity.In both painting and printmaking he exhibited a complete knowledge of classical iconography, which he molded to fit the requirements of his own experience; thus, the depiction of a biblical scene was informed by Rembrandt's knowledge of the specific text, his assimilation of classical composition, and his observations of Amsterdam's Jewish population. Despite the closeness of his death, Rembrandt makes an impression of a self-assured and confident artist. In this one, Rembrandt is preoccupied with depicting the textures and colours of his own ageing face. Rembrandt painted large-scale likenesses of each, which were originally designed to hang together. https://www.nationalgallery.org.uk/paintings/rembrandt-self-portrait-at-the-age-of-63. The pigment analysis revealed a limited palette consisting of red and yellow ochre, carmine and madder lake, and lead white. That mysterious look in his eye may not be one of existential angst, but that of a painter deeply engaged in the challenges of his art.

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