The light that so effectively illuminates the head also accents Rembrandt’s left shoulder and, to a lesser extent, his broadly executed clasped hands. Custom Prints. 1944) on Rembrandt’s 1659 Self-Portrait. Hai trovato questo prodotto a un prezzo più basso?? See inventory no. His spirit remained unbroken to the end - or that is the kind of comment this portrait seems inevitably to provoke. {{$parent.$parent.validationModel['duplicate']}}, 1-{{getCurrentCount()}} out of {{getTotalCount()}}, Aeneas Ontvangt Door Voorspraak Van Venus Een Nieuwe Wapenrusting in De Smidse Van Vulcanus, The Captain of God's Army Appearing to Joshua. 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). (artist) Clearly Rembrandt has adapted all of these aspects of Raphael’s painting in his self-portrait, while at the same time transforming the nature of his image through dramatic light effects and the rich impastos of his paint. ‘Self-portrait’ was created in 1669 by Rembrandt in Baroque style. The painting was acquired by Alphonso Lopez, a Portuguese Jew who lived in Amsterdam from 1636 to 1640. The 1669 portrait is as surely and powerfully painted as the portraits of the 1650s. Open Access image. Compra REMBRANDT SELF PORTRAIT 1669 ARTISTA QUADRO RIPRODUZIONE DIPINTO OLIO TELA MANO 60x50cm alta qualita. Open Access image. Ti suggeriamo di riprovare più tardi. Rembrandt painted, drew, and etched so many self-portraits in his lifetime that changes in his appearance invite us to gauge his moods by comparing one image to another. 451, from the Albertina, Vienna. Walter L. Strauss and Marjon van der Meulen, The Rembrandt Documents (New York, 1979), 462–465, doc. Three rooms were sealed up and their contents not listed, since they contained Rembrandt's paintings and his art collection which [5]  [5]For the nature of these myths see Seymour Slive, Rembrandt and His Critics, 1630–1730 (The Hague, 1953) and Jan Ameling Emmens, Rembrandt en de Regels van de Kunst (Utrecht, 1968). Reader Mode. The X-radiograph [see X-radiographyX-radiography A photographic or digital image analysis method that visually records an object's ability to absorb or transmit x-rays. For the nature of these myths see Seymour Slive, Rembrandt and His Critics, 1630–1730 (The Hague, 1953) and Jan Ameling Emmens, Rembrandt en de Regels van de Kunst (Utrecht, 1968). See inventory no. Share on … De schilder is tot de knieën afgebeeld, in een geborduurde kamerjas, met de linkerarm steunend op een beeldhouwwerk van een slapende Cupido. 672, from the National Gallery, London. Al momento, è presente un problema nel caricamento di questo menu. Find more prominent pieces of self-portrait at Wikiart.org – best visual art database. Zelfportret van Ferdinand Bol. Utilizziamo cookie e altre tecnologie simili per migliorare la tua esperienza di acquisto, per fornire i nostri servizi, per capire come i nostri clienti li utilizzano in modo da poterli migliorare e per visualizzare annunci pubblicitari. 292. Interpreting paintings on the basis of an artist’s biography is dangerous, particularly with an artist whose life has been romanticized to the extent that Rembrandt’s has been. Iscriviti ad Amazon Prime: consegne senza costi aggiuntivi in 1 giorno su 2 milioni di prodotti e in 2-3 giorni su molti altri milioni, film e serie TV su Prime Video, incluse le serie Amazon Original, più di 2 milioni di brani e centinaia di playlist senza pubblicità con Prime Music, centinaia di eBook Kindle su Prime Reading, accesso anticipato alle Offerte Lampo di Amazon.it e spazio di archiviazione per le foto illimitato. Non abbiamo suggerimenti in questo momento. Photo: © RMN / Art Resource, NY. 1660/20. You may download complete editions of this catalog from the catalog’s home page. Even more significantly, however, we read these images biographically because Rembrandt forces us to do so. Read our full Open Access policy for images. For the etching, see: Adam Bartsch, Catalogue raisonné de toutes les estampes qui forment l’oeuvre de Rembrandt…, 2 vols. van Rijckevorsel, Rembrandt en de Traditie (Rotterdam, 1932), 150, however, did suggest the additional influence of Titian’s Portrait of “Ariosto” (National Gallery, London, inventory no. West Building For the etching, see: Adam Bartsch, For a discussion of the relationship of Rembrandt’s self-portraits from 1639 and 1640 to Raphael and Titian, see Eddy de Jongh, “The Spur of Wit: Rembrandt’s Response to an Italian Challenge,”. Rembrandt Self Portrait 1669 , Bellissima riproduzione dell'artista Rembrandt. [14]  [14] For a discussion of various interpretations of these paintings see H. Perry Chapman, Rembrandt’s Self-Portraits: A Study in Seventeenth-Century Identity (Princeton, 1990), 94–95, 97–101. After learning the fundamentals of drawing and painting in his native Leiden, Rembrandt van Rijn went to Amsterdam in 1624 to study for six months with Pieter Lastman (1583–1633), a famous history painter. See inventory no. Closed. Hai trovato questo prodotto a un prezzo più basso?? [The Hague, Boston, and London, 1982], A2). The location of the grave in the church is not known. In this 1640 Self-Portrait, Rembrandt, dressed in a fanciful historicizing costume, portrayed himself with all of the elegance and dignity of the renowned Renaissance men of letters thought to have been depicted by Raphael (Marchigian, 1483 - 1520) and Titian (Venetian, 1488/1490 - 1576). framed: 122.9 x 104.1 x 8.9 cm (48 3/8 x 41 x 3 1/2 in. The illusionistic format of self-portraiture was put in the context of the northern portrait tradition by Stephanie Dickey during a Rembrandt symposium held at the Rijksmuseum, Amsterdam, in January 1992. The large carved sunflowers symbolize love, and the frame as a whole represents luscious nature in its maturity, Listen to audio fragment (from the multimedia tour), 4 days ago - 536 works Cite PDF Archived Version(s) Search this œ catalog . Articoli visualizzati di recente e suggerimenti in primo piano, Seleziona la categoria in cui desideri effettuare la ricerca. Riprova. Si è verificato un problema durante il salvataggio delle preferenze relative ai cookie. The blackish paint to the left of the figure and a patchy semi-opaque coating, applied in a prior restoration to disguise abrasion, were left in place. Anche terzi autorizzati utilizzano queste tecnologie in relazione alla nostra visualizzazione di annunci pubblicitari. In een vergulde rijk gesneden lijst met zonnebloemen en ander bloemen versierd. 57, from the Iveagh Bequest, Kenwood. His hands are grasped as though in anguish at the spectacle of a self-ruined man. His death on 4 October 1669 must have been sudden. ), Rembrandt van Rijn The double ground consists of a thick, reddish brown lower layer and a very thin, light gray layer. Self Portrait, 1669; Selected Paintings of Rembrandt; Etchings & Drawings of Rembrandt; Biograhpy of Rembrandt; Self-Portrait with Two Circles, 1655 by Rembrandt Courtesy of www.RembrandtPaintings.com: In Self-Portrait with Two Circles, Rembrandt holds his palette, brushes, and maulstick. 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. Sans l’abattre, les soucis et les malheurs n’ont fait qu’épurer en lui la passion de son art qui le soutient et cet amour de la nature qui lui permet de découvrir des trésors de beauté et de poésie là où les autres passent indifférents.”. Historische tentoonstelling van Amsterdam, gehouden in den zomer van 1876, Kwab : ornament als kunst in de eeuw van Rembrandt, Kwab : ornament as art in the age of Rembrandt, De zonnebloem als embleem in een schilderijlijst, Vier zelfportretten : een verkleedpartij, een blijk van liefde, familiegeluk en een ziekte, http://hdl.handle.net/10934/RM0001.COLLECT.6106, Dobrzycka, A., Autoportrety Ferdinanda Bola, in: Buletyn Historii Sztuki 18, 1956, p. 427, afb.

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