Self-Portrait

1659

Rembrandt van Rijn

Artist, Dutch, 1606 - 1669

Rembrandt van Rijn

Attributed to

Shown from the waist up, an older man with pale, peachy skin looks out at us with deep-set, gray eyes under a furrowed brow, in front of a sable-brown background in this vertical portrait painting. His body is angled to our left, and his face turns to us. He has a faintly pink, bulbous nose, and his slightly sunken cheeks are shaded with gray. His peach-colored lips are framed with a wispy, gray mustache and goatee. Bronze-orange lines are incised within the battleship gray of his hair to create soft curls under his brown beret, which has gold trim around the base. The dark collar of his fawn-brown coat is turned up so his neck is covered. He is lit from the upper left, so his body and the right side of the painting are deeply shadowed. On our left, the canvas is painted with blended strokes of tawny and dark brown. His dark coat blends into the background, and his folded hands are in shadow in the lower left corner. The brushstrokes are visible in some areas, especially in the man’s face. The painting is signed and dated next to his shoulder, to our left, “Rembrandt f. 1659.”

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The man’s surroundings are blurred, but his illuminated face is finely detailed. The sad eyes fix on us intently. What is he trying to communicate? We know he is Rembrandt van Rijn, a Dutch painter of extraordinary fame today, but he seems unsettled. His brows are knitted, his cheeks are sunken, and deep wrinkles gather at his forehead and eyes. Painted when the artist was 53 years old, this penetrating work was made after Rembrandt was forced to sell his possessions to pay off creditors. They could not take away his skill or dignity, which he displays in this self-portrait.

On View

West Building Main Floor, Gallery 48

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Artwork overview

  • Medium

    oil on canvas

  • Credit Line

    Andrew W. Mellon Collection

  • Dimensions

    overall: 84.5 x 66 cm (33 1/4 x 26 in.)
    framed: 122.9 x 104.1 x 8.9 cm (48 3/8 x 41 x 3 1/2 in.)

  • Accession Number

    1937.1.72

More About this Artwork

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Video:  Rembrandt's "Self-Portrait" (ASL)

This video provides an ASL description of Rembrandt's Self-Portrait. 

Scholarly Article:  Dutch Paintings of the Seventeenth Century: Self-Portrait, 1659

This horizontal painting shows a group of eight light-skinned musicians and onlookers gathered closely around a rectangular, carpet-covered table. The front edge of the table runs parallel to the bottom edge of the painting, and seems close to us. Shown from about the waist up, the men and women’s vivid lapis-blue, coral-red, buttercup-yellow, lilac-purple, and moss-green garments fall in crisp folds. Bright reflections on the fabric suggest a satin-like material. Two women wear feathers in their hair and one man’s hat is plumed. One man, wearing crimson red and black, sits with his back to us to our left on the near side of the table. He holds the neck of a bass viol, about the size of a cello, with his left hand, and points to pages of an open music book with the bow in his right hand. The other people cluster on the far side of the table. A man to the left plays a violin; a woman at the center plays a guitar-sized bandora, and a woman to our right plays a lute. The musicians, along with a man who leans over the table from between the two women, look down at the music books. A young man behind the woman at the center holds up a glass of pale liquid with his right hand as he touches his left forefinger to his smiling lips. A man and woman stand close together in the background to our right, in the top right corner of the canvas.

Scholarly Series:  Dutch Paintings of the Seventeenth Century

Artwork history & notes

Provenance

Purchased by George Brudenell, 4th earl of Cardigan [1712-1790, later George Montagu, duke of Montagu (new creation)], Montagu House, Whitehall, London, by 1767;[1] by inheritance to his daughter and sole heiress, Elizabeth, duchess of Buccleuch [1743-1827, née Lady Elizabeth Montagu, wife of Henry Scott, 3rd duke of Buccleuch and 5th duke of Queensberry, 1746-1812], Montagu House; by descent through the dukes of Buccleuch and Queensberry to John Charles Montagu, 7th duke of Buccleuch and 9th duke of Queensberry [1864-1935], Montagu House; sold 1928 to (P. & D. Colnaghi & Co., New York), on joint account with (M. Knoedler & Co., New York);[2] sold January 1929 to Andrew W. Mellon, Pittsburgh and Washington, D.C.; deeded 28 December 1934 to The A.W. Mellon Educational and Charitable Trust, Pittsburgh; gift 1937 to NGA.
[1] The Knoedler prospectus for the painting (in NGA curatorial files) states that the painting was purchased by Brudunell in 1740. However, the first firm evidence for his ownership is a mezzotint after the self-portrait, dated 1767 and published by R. Earlom (1743-1822), which is inscribed as "From the Original Picture...In the Collection of his Grace the Duke of Montagu" (see John Charrington, A Catalogue of the Mezzotints After, or Said to Be After, Rembrandt, Cambridge, Massachusetts, 1923: 34-35, no. 49. According to an inventory of Montagu House, Whitehall, made in 1770, this painting and Rembrandt's An Old Woman Reading (still at the Duke of Buccleuch and Queensberry's Drumlanrig Castle in Dumfriesshire, Scotland) were purchased together for 140 pounds; see Francis Russell's entry on An Old Woman Reading in Gervase Jackson-Stops, ed., The Treasure Houses of Britain: Five Hundred Years of Private Patronage and Art Collecting, exh. cat., National Gallery of Art, Washington, D.C., New Haven and London, 1985: 363-364, no. 292. See also Burton B. Fredericksen, "Leonardo and Mantegna in the Buccleuch Collection," The Burlington Magazine 133 (February 1991): 116.
[2] Nicholas H.J. Hall, ed., Colnaghi in America: A Survey to Commemorate the First Decade of Colnaghi New York, New York, 1992: 24, fig. 24. According to the Getty Provenance Index® Database of Public Collections (J. Paul Getty Trust, Paintings Record 17095), there is no regular entry in Colnaghi’s stockbooks, but transactions for the painting are documented in Colnaghi's Private Ledger; the painting was Knoedler’s number A-409. The 1928 sale of the painting by the 7th duke is also confirmed by a letter of 28 November 1928, from Charles J. Holmes, then director of the National Gallery, London, to Otto Gutekunst of Colnaghi (in NGA curatorial files, received at the time of the 1937 gift). Gutekunst had shown Holmes the painting "in confidence" and Holmes wrote to ask if it could be lent briefly to the Gallery "before it crosses the Atlantic."

Associated Names

Exhibition History

1872

  • Exhibition of the Works of the Old Masters. Winter Exhibition, Royal Academy of Arts, London, 1872, no. 181.

1898

  • Rembrandt. Collection des oeuvres des maîtres réunies, à l'occasion de l'inauguration de S. M. la Reine Wilhelmine, Stedelijk Museum, Amsterdam, 1898, no. 102.

1899

  • Exhibition of Works by Rembrandt. Winter Exhibition, Royal Academy of Arts, London, 1899, no. 6.

1930

  • The Thirteenth Loan Exhibition of Old Masters: Paintings by Rembrandt, The Detroit Institute of Arts, May 1930, no. 62.

  • A Loan Exhibition of Sixteen Masterpieces, Knoedler Galleries, New York, January 1930, no. 8.

1935

  • Loan Exhibition of Paintings, Drawings and Etchings by Rembrandt and His Circle, The Art Institute of Chicago, 1935-1936, no. 6.

  • Rembrandt Tentoonstelling, Rijksmuseum, Amsterdam, 1935, no. 26.

1939

  • Masterpieces of Art. European Paintings and Sculpture from 1300-1800, New York World's Fair, 1939, no. 307.

1969

  • Rembrandt in the National Gallery of Art [Commemorating the Tercentenary of the Artist's Death], National Gallery of Art, Washington, D.C., 1969, no. 19, repro.

1989

  • Masterpieces of Western European Painting of the XVIth-XXth Centuries from the Museums of the European Countries and USA, State Hermitage Museum, Leningrad, 1989, no. 13, repro.

1992

  • Dutch Art and Scotland: A Reflection of Taste, National Gallery of Scotland, Edinburgh, 1992, no. 53, repro.

1996

  • Rembrandt: His Pupils and Followers, National Gallery of Ireland, Dublin, 1996, unnumbered brochure, repro.

1999

  • Rembrandt By Himself, The National Gallery, London; Royal Cabinet of Paintings Mauritshuis, The Hague, 1999-2000, no. 73, repro.

2002

  • Rembrandt: Dipinti, incisioni e riflessi sul '600 e '700 italiano, Scuderie del Quirinale, Rome, 2002-2003, no. 6D, repro. on title page.

2009

  • Rembrandt's People, Wadsworth Atheneum Museum of Art, Hartford, 2009-2010, brochure no. 3, repro. and cover.

2011

  • Rembrandt in America, North Carolina Museum of Art, Raleigh; Cleveland Museum of Art; Minneapolis Institute of Arts, 2011-2012, no. 34, pl. 9.

2014

  • Rembrandt: The Late Works, National Gallery, London; Rijksmuseum, Amsterdam, 2014-2015, no. 2, repro.

Bibliography

1770

  • Manuscript list of pictures at Montagu House, Whitehall. Boughton House, Northamptonshire, 1770: unpaginated.

1829

  • Smith, John. A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish and French Painters. 9 vols. London, 1829-1842: 7(1836): 88, no. 215.

1868

  • Vosmaer, Carel. Rembrandt Harmens van Rijn, sa vie et ses œuvres. The Hague, 1868: 493.

1872

  • Royal Academy of Arts. Exhibition of Old Masters and by Deceased Masters of the British School. Exh. cat. Royal Academy of Arts, London, 1872: no. 181.

1877

  • Vosmaer, Carel. Rembrandt Harmens van Rijn: sa vie et ses oeuvres. 2nd ed. The Hague, 1877: 358, 560.

1883

  • Bode, Wilhelm von. Studien zur Geschichte der holländischen Malerei. Braunschweig, 1883: 542, 585, no. 197.

1885

  • Dutuit, Eugène. Tableaux et dessins de Rembrandt: catalogue historique et descriptif; supplément à l'Oeuvre complet de Rembrandt. Paris, 1885: no. 43, 61, 70, no. 165.

1886

  • Wurzbach, Alfred von. Rembrandtgalerie. Stuttgart, 1886: no. 160.

1887

  • Champlin, John Denison, Jr., and Charles C. Perkins, eds. Cyclopedia of painters and paintings. 4 vols. New York, 1887: 4:24.

1893

  • Michel, Émile. Rembrandt: Sa vie, son oeuvre et son temps. Paris, 1893: 557.

1894

  • Michel, Émile. Rembrandt: His Life, His Work, and His Time. 2 vols. Translated by Florence Simmonds. New York, 1894: 2:235.

1897

  • Bode, Wilhelm von, and Cornelis Hofstede de Groot. The Complete Work of Rembrandt. 8 vols. Translated by Florence Simmonds. Paris, 1897-1906: 6:3-14, no. 431, repro.

  • Moes, Ernst Wilhelm. Iconographia Batava. 2 vols. Amsterdam, 1897-1905: 2(1905):315, no. 60.

1898

  • Michel, Émile. "L’Exposition Rembrandt à Amsterdam." Gazette des Beaux-Arts 20 (1898): 467-480.

  • McKay, Andrew. Catalogue of the pictures in Montagu House, belonging to the Duke of Buccleuch. London, 1898: 5, no. 12.

  • Hofstede de Groot, Cornelis. De Rembrandt tentoonstelling te Amsterdam: 40 photogravures met tekst. Exh. cat. Stedelijk Museum, Amsterdam, 1898: no. 33, repro.

  • Hofstede de Groot, Comelis. Rembrandt: Collection des oeuvres du maître réunies, à l’occasion de l’inauguration de S. M. la Reine Wilhelmine. Exh. cat. Stedelijk Museum, Amsterdam, 1898: no. 102.

1899

  • Hofstede de Groot, Cornelis. Rembrandt. 26 Photogravures naar de beste schilderijen der tentoonstellingen te London en Amsterdam. Amsterdam, 1899: no. 33, repro.

  • Bell, Malcolm. Rembrandt van Rijn and His Work. London, 1899: 83-84, 145.

  • Royal Academy of Arts. Exhibition of works by Rembrandt. Exh. cat. Royal Academy of Arts, London, 1899: 10, no. 6.

1902

  • Neumann, Carl. Rembrandt. Berlin, 1902: 488.

1904

  • Rosenberg, Adolf. Rembrandt: des Meisters Gemälde. Klassiker der Kunst in Gesamtausgaben 2. Stuttgart, 1904: 217, 267, repro.

1906

  • Veth, Jan. Rembrandt's Leven en Kunst. Amsterdam, 1906: 161-162.

  • Rosenberg, Adolf. Rembrandt, des Meisters Gemälde. Klassiker der Kunst in Gesamtausgaben 2. 2nd ed. Stuttgart, 1906: repro. 343, 404.

  • Wurzbach, Alfred von. Niederlandisches Kunstler-Lexikon. 3 vols. Vienna, 1906-1911: 2(1910):402.

1907

  • Hofstede de Groot, Cornelis. A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century. 8 vols. Translated by Edward G. Hawke. London, 1907-1927: 6(1916):273-274, no. 554.

  • Bell, Malcolm. Rembrandt van Rijn. The great masters in painting and sculpture. London, 1907: 79, 126.

  • Rosenberg, Adolf. The Work of Rembrandt, reproduced in over five hundred illustrations. Classics in Art 2. New York, 1907: 343, repro.

1908

  • Rosenberg, Adolf. Rembrandt, des Meisters Gemälde. Klassiker der Kunst in Gesamtausgaben 2. 3rd ed. Stuttgart and Berlin, 1908: repro. 403, 562.

1909

  • Knackfuss, Hermann. Rembrandt. Künstler-Monographien. Bielefeld, 1909: 158-159, pl. 164.

  • Rosenberg, Adolf. Rembrandt: Des Meisters Gemälde. Edited by Wilhelm R. Valentiner. Klassiker der Kunst in Gesamtausgaben 2. Stuttgart and Leipzig, 1909: repro. 403, 562.

1913

  • Graves, Algernon. A Century of Loan Exhibitions, 1813-1912. 5 vols. London, 1913-1915: 3(1914):1010.

  • Rosenberg, Adolf. The Work of Rembrandt, reproduced in over five hundred illustrations. Classics in Art 2. 2nd ed. New York, 1913: repro. 403.

1921

  • Valentiner, Wilhelm R. Rembrandt: wiedergefundene Gemälde (1910-1920). Klassiker der Kunst in Gesamtausgaben. 27. Stuttgart and Berlin, 1921: 403, repro.

  • Rosenberg, Adolf. The Work of Rembrandt. Edited by Wilhelm R. Valentiner. Classics in Art 2. 3rd ed. New York, 1921: 403, repro.

1922

  • Neumann, Carl. Rembrandt. 2 vols. Revised ed. Munich, 1922: 2:540, 542.

1923

  • Meldrum, David S. Rembrandt’s Painting, with an Essay on His Life and Work. New York, 1923: 137, 199, pl. 339.

1924

  • Knackfuss, Hermann. Rembrandt. Künstler-Monographien. Leipzig, 1924: 162, pl. 170.

1929

  • Rutter, Frank. "Notes from Abroad." International Studio 92 (1929): 64-67, repro.

1930

  • Valentiner, Wilhelm R. The thirteenth loan exhibition of old masters, paintings by Rembrandt. Exh. cat. Detroit Institute of Arts, Detroit, 1930: no. 62.

1931

  • Valentiner, Wilhelm R. Rembrandt Paintings in America. New York, 1931: no. 141, repro.

1932

  • Rijckevorsel, J. L. A. A. M. van. "Rembrandt en de Traditie." Ph.D. dissertation, Rijksuniversiteit Nijmegen, 1932: 150.

1935

  • Bredius, Abraham. Rembrandt Schilderijen, 630 Afbeeldingen. Utrecht, 1935: no. 51, repro.

  • Schmidt-Degener, Frederik. Rembrandt Tentoonstelling. Exh. cat. Rijksmuseum, Amsterdam, 1935: 58, no. 26, repro.

  • Rich, Daniel Catton. Loan exhibition of paintings, drawings and etchings by Rembrandt and his circle. Exh. cat. Art Institute of Chicago, 1935: 18, 65, no. 6, repro.

  • Bredius, Abraham. Rembrandt Gemälde, 630 Abbildungen. Vienna, 1935: no. 51, repro..

1936

  • Bredius, Abraham. The Paintings of Rembrandt. New York, 1936: no. 51, repro.

1937

  • Jewell, Edward Alden. "Mellon's Gift." Magazine of Art 30, no. 2 (February 1937): 82.

  • Cortissoz, Royal. An Introduction to the Mellon Collection. Boston, 1937: 39.

1939

  • McCall, George Henry. Masterpieces of art: Catalogue of European paintings and sculpture from 1300-1800. Edited by Wilhelm R. Valentiner. Exh. cat. New York World's Fair, New York, 1939: 149-150, no. 307.

1941

  • National Gallery of Art. Preliminary Catalogue of Paintings and Sculpture. Washington, 1941: 164, no. 72.

1942

  • Borenius, Tancred. Rembrandt: Selected Paintings. London and New York, 1942: 35, no. 81, repro.

  • National Gallery of Art. Book of illustrations. 2nd ed. Washington, 1942: 72, repro. 29, 240.

  • Bredius, Abraham. The Paintings of Rembrandt. 2 vols. Translated by John Byam Shaw. Oxford, 1942: 1:5, no. 51, repro.

1943

  • Benesch, Otto. "The Rembrandt Paintings in the National Gallery of Art." The Art Quarterly 6, no. 1 (Winter 1943): 28, 30 fig. 11.

1944

  • Cairns, Huntington, and John Walker, eds. Masterpieces of Painting from the National Gallery of Art. Translated. New York, 1944: 98, color repro.

1946

  • National Gallery of Art. Favorite paintings from the National Gallery of Art, Washington DC. New York, 1946: 47-49, color repro.

1948

  • Rosenberg, Jakob. Rembrandt. 2 vols. Cambridge, MA, 1948: 1:30-31, color frontispiece.

1949

  • National Gallery of Art. Paintings and Sculpture from the Mellon Collection. Washington, 1949 (reprinted 1953 and 1958): 87, repro.

1956

  • Walker, John. National Gallery of Art, Washington. New York, 1956: 42, repro.

1957

  • Shapley, Fern Rusk. Comparisons in art: A Companion to the National Gallery of Art, Washington, D.C. London, 1957: pl. 78.

1960

  • Roger-Marx, Claude. Rembrandt. Translated by W.J. Strachan and Peter Simmons. New York, 1960: 13, repro., 64, 96.

  • Baird, Thomas P. Dutch Painting in the National Gallery of Art. Ten Schools of Painting in the National Gallery of Art 7. Washington, D.C., 1960: 8, 14-15, color repro.

1963

  • Walker, John. National Gallery of Art, Washington, D.C. New York, 1963 (reprinted 1964 in French, German, and Spanish): 184, no. 72, repro.

1964

  • Rosenberg, Jakob. Rembrandt: Life and Work. Revised ed. Greenwich, Connecticut, 1964: 47.

1965

  • National Gallery of Art. Summary Catalogue of European Paintings and Sculpture. Washington, 1965: 109.

1966

  • Rosenberg, Jakob, Seymour Slive, and Engelbert H. ter Kuile. Dutch Art and Architecture: 1600–1800. Pelican History of Art. Baltimore, 1966: 71-72, pl. 50.

  • Bauch, Kurt. Rembrandt Gemälde. Berlin, 1966: 17, no. 330, repro.

  • Cairns, Huntington, and John Walker, eds. A Pageant of Painting from the National Gallery of Art. 2 vols. New York, 1966: 1: 232, color repro.

1967

  • Erpel, Fritz. Die Selbstbildnisse Rembrandts. Berlin, 1967: 46, 184, pl. 56.

1968

  • Gerson, Horst. Rembrandt Paintings. Amsterdam, 1968: 443, no. 736, repro., 503.

  • National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 97, repro.

  • Gandolfo, Giampaolo et al. National Gallery of Art, Washington. Great Museums of the World. New York, 1968: 135-136, color repro.

1969

  • Bredius, Abraham. Rembrandt: The Complete Edition of the Paintings. Revised by Horst Gerson. 3rd ed. London, 1969: repro. 47, 551, no. 51.

  • National Gallery of Art. Rembrandt in the National Gallery of Art: Commemorating the tercentenary of the artist's death. Exh. cat. National Gallery of Art, Washington, 1969: 7, 29, no. 19, repro.

1972

  • Roberts, Keith. "Current and Forthcoming Exhibitions: London." The Burlington Magazine 114, no. 830 (May 1972): 353.

1975

  • Wright, Christopher. Rembrandt and His Art. London and New York, 1975: 98-99, pl. 80.

  • National Gallery of Art. European paintings: An Illustrated Summary Catalogue. Washington, 1975: 284, repro.

1977

  • Bolten, J., and H. Bolten-Rempt. The Hidden Rembrandt. Translated by Danielle Adkinson. Milan and Chicago, 1977: 199, no. 486, repro.

1978

  • Clark, Kenneth. An Introduction to Rembrandt. London, 1978: 30-31, fig. 26.

1979

  • Watson, Ross. The National Gallery of Art, Washington. New York, 1979: 69, pl. 54.

1982

  • Wright, Christopher. Rembrandt: Self-Portraits. New York, 1982: 32, color pl. 88.

1984

  • Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 270, no. 351, color repro.

  • Schwartz, Gary. Rembrandt: Zijn leven, zijn schilderijen. Maarssen, 1984: 352, no. 417, repro.

  • Rosenberg, Jakob, Seymour Slive, and Engelbert H. ter Kuile. Dutch Art and Architecture. The Pelican History of Art. Revised ed. Harmondsworth, 1984: 71-72, pl. 50.

1985

  • Jackson-Stops, Gervase. The Treasure Houses of Britain: Five Hundred Years of Private Patronage and Art Collecting. Exh. cat. National Gallery of Art, Washington. New Haven, 1985: 363-364, no. 292.

  • National Gallery of Art. European Paintings: An Illustrated Catalogue. Washington, 1985: 328, repro.

  • Pelfrey, Robert H., and Mary Hall-Pelfrey. Art and Mass Media. New York, 1985: 97, repro.

  • Schwartz, Gary. Rembrandt: His Life, His Paintings. New York, 1985: 352, no. 417, repro.

1986

  • Sutton, Peter C. A Guide to Dutch Art in America. Washington and Grand Rapids, 1986: 314, repro.

  • Tümpel, Christian. Rembrandt. Translated by Jacques and Jean Duvernet, Léon Karlson, and Patrick Grilli. Paris, 1986: 368-369, color repro., 427, no. A72.

  • Guillaud, Jacqueline, and Maurice Guillaud. Rembrandt: das Bild des Menschen. Translated by Renate Renner. Stuttgart, 1986: no. 739, color repro.

  • Guillaud, Jacqueline, and Maurice Guillaud. Rembrandt, the human form and spirit. Translated by Suzanne Boorsch et al. New York, 1986: no. 739, color repro.

1989

  • Obnovlenskaia, N.G. Masterpieces of western European painting of the XVIth-XXth centuries from the museums of the European countries and USA. Exh. cat. State Hermitage Museum, Leningrad, 1989: no. 13, repro.

1991

  • Kopper, Philip. America's National Gallery of Art: A Gift to the Nation. New York, 1991: 21, color repro.

  • Martz, Louis L. From Renaissance to Baroque: essays on literature and art. Columbia, Missouri, 1991: 242-245, fig. 39.

  • Fredericksen, Burton B. "Leonardo and Mantegna in the Buccleuch Collection." The Burlington Magazine 133, no. 1055 (February 1991): 116.

1992

  • Lloyd Williams, Julia. Dutch Art and Scotland: A Reflection of Taste. Exh. cat. National Gallery of Scotland, Edinburgh, 1992: no. 53, color repro.

  • Fiero, Gloria K. The Age of the Baroque and the European Enlightenment. The Humanist Tradition 4. 1st ed. [7th ed. 2015] Dubuque, Iowa, 1992: 51, fig. 22.13.

  • Schneider, Norbert. Porträtmalerei: Hauptwerke europäischer Bildniskunst 1420-1670. Cologne, 1992: 115-116, repro.

1994

  • Jackson, Jed. Art: a comparative study. Dubuque, Iowa, 1994: 166-167, fig. 123.

1995

  • Wheelock, Arthur K., Jr. Dutch Paintings of the Seventeenth Century. The Collections of the National Gallery of Art Systematic Catalogue. Washington, 1995: 261-265, color repro. 263.

  • Stokstad, Marilyn. Art History. New York, 1995: 792, fig.19-50.

  • Slive, Seymour, and Jakob Rosenberg. Dutch painting 1600-1800. Pelican History of Art. Revised and expanded ed. New Haven, 1995: 85, 86, repro.

  • Denker, Eric. In Pursuit of the Butterfly: Portraits of James McNeill Whistler. Exh. cat. National Portrait Gallery, Washington. Seattle, 1995: 59, 60, 61, repro.

  • Genet, Jean. Rembrandt: le secret de Rembrandt, suivi de Ce qui est resté d'un Rembrandt déchiré en petits carrés bien réguliers, et foutu aux chiottes. Paris, 1995: 94, repro.

1996

  • Tansey, Richard G. and Fred S. Kleiner. Gardner's Art Through the Ages. 10th ed. Fort Worth, 1996: 859, color fig. 24.50.

  • Pelfrey, Robert H. Art and mass media. New York, 1985. Reprint, Dubuque, Iowa, 1996: 94-95, fig. 4.10.

  • Kissick, John. Art: Context and Criticism. Madison, 1996: 266, repro.

1997

  • Fleischer, Roland E., and Susan C. Scott, eds. Rembrandt, Rubens, and the art of their time: recent perspectives. Papers in art history from the Pennsylvania State University 11. University Park, PA, 1997: no. 1-5, repro.

  • Dworetzky, John P., Psychology, 1997, no. 452-453, repro.

1998

  • Fiero, Gloria K. Faith, Reason and Power in the Early Modern World. The Humanistic Tradition 4. 3rd ed. New York, 1998: 54, fig. 22.13.

1999

  • White, Christopher, and Quentin Buvelot. Rembrandt by Himself. Exh. cat. National Gallery, London; Royal Cabinet of Paintings Mauritshuis, The Hague. New Haven, 1999: 200-203, no. 73, repro.; X-radiograph, fig. 73a; detail, fig. 73b.

2001

  • Wetering, Ernst van de, and Bernhard Schnackenburg. The Mystery of the Young Rembrandt. Exh. cat. Staatliche Museen Kassel, Gemäldegalerie Alte Meister, Schloss Wilhelmshöhe; Museum het Rembrandthuis, Amsterdam. Wolfratshausen, 2001: 115-116, fig. 29.

2002

  • Hinterding, Erik. Rembrandt: dipinti, incisioni e riflessi sul '600 e '700 italiano. Exh. cat. Scuderie Papali al Quirinale, Rome; Rijksmuseum, Amsterdam. Milan, 2002: 388-389, no. 6D, repro. on title page.

2003

  • Ackley, Clifford S., et al. Rembrandt's journey: painter, draughtsman, etcher. Exh. cat. Museum of Fine Arts, Boston; Art Institute of Chicago. Boston, 2003: 308-309, no. 215, repro.

2004

  • Hand, John Oliver. National Gallery of Art: Master Paintings from the Collection. Washington and New York, 2004: 198-199, no. 156, color repro.

2005

  • Stichting Foundation Rembrandt Research Project. A Corpus of Rembrandt Paintings. Vol. 4: The Self-Portraits. Edited by Ernst van de Wetering. Dordrecht, 2005: 94, 95 fig. 17, 96, 109, 110, 111, 115 fig. 54, 116, 129, 151, 189, 216, 244, 281, 282 fig. 289, 382, 474, 484, 492, 496, 498-507, 584, 601.

2006

  • Rønberg, Lene Bøgh, and Eva de la Fuente Pedersen. Rembrandt?: The Master and His Workshop. Exh. cat. Statens Museum for Kunst, Copenhagen, 2006: 45, fig. 8.

2009

  • Zafran, Eric. Rembrandt's People. Exhibition brochure. Wadsworth Atheneum, Hartford, 2009: no. 3, 10-11, repro.

2011

  • Keyes, George S., Tom Rassieur, and Dennis P. Weller. Rembrandt in America: collecting and connoisseurship. Exh. cat. North Carolina Museum of Art, Raleigh; Cleveland Museum of Art; Minneapolis Institute of Arts. New York, 2011: no. 34, pl. 9, 54-55, 134, 191.

2014

  • Clark, T.J. "World of Faces," review of Rembrandt: The Late Works, National Gallery London, 2014-2015, London Review of Books 36, no. 23 (4 December 2014): 16, 17, color repro.

  • Bikker, Jonathan, and Gregor J.M. Weber. Rembrandt: The Late Works. Exh. cat. National Gallery, London; Rijksmuseum, Amsterdam. London, 2014: no. 2, 46, repro. (detail) 46, repro. 47, 297.

  • Wieseman, M.E., Jonathan Bikker, et al. Rembrandt: The Late Works, Supplement with Provenance, Selected Literature and Bibliography. Online supplement to Exh. cat. National Gallery London; Rijksmuseum, Amsterdam. London, 2014, https://www.nationalgallery.org.uk/media/25834/rembrandt-supplement.pdf: 6, 12-13.

  • Wheelock, Arthur K., Jr. Dutch Paintings of the Seventeenth Century. NGA Online Editions, http://purl.org/nga/collection/catalogue/17th-century-dutch-paintings.

2016

  • Warner-Johnson, Tim, and Jeremy Howard, eds. Colnaghi: Past, Present and Future: An Anthology. London, 2016: 112-113, color plate 33.

2018

  • Seifert, Christian Tico, et al. Rembrandt: Britain's Discovery of the Master. Exh. cat. National Galleries of Scotland, Edinburgh, 2018: 123 fig. 141.

2022

  • Gifford, E. Melanie. "Rembrandt and the Rembrandtesque: The Experience of Artistic Process and Its Imitation." In Tributes to Maryan W. Ainsworth, Collaborative Spirit: Essays on Northern European Art, 1350-1650. Edited by Anna Koopstra, Christine Seidel and Joshua P. Waterman. London/Turnhout, 2022: 338-339, color fig. 6b.

Inscriptions

center left: Rembrandt f. 1659

Wikidata ID

Q2872723

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