Self-portrait with dishevelled hair

Rembrandt van Rijn’s Self-portrait, painted around 1628, is an early and introspective work that marks the beginning of the artist’s long engagement with self-portraiture, a genre he would return to throughout his career. Created when Rembrandt was just 22 years old, this painting is one of the first of over 80 self-portraits he produced, making him one of the most prolific self-portraitists in Western art. This early self-portrait showcases the artist’s emerging mastery of light, shadow, and expression, and provides insight into his evolving technique and self-perception.

The impact of this early self-portrait is significant in the context of Rembrandt’s overall oeuvre. His self-portraits serve as a visual autobiography, documenting his growth as an artist and his shifting emotional and physical state over time. This 1628 work, in particular, captures Rembrandt at a pivotal moment, as a young artist refining his skills and establishing his unique voice. It also reflects a broader cultural trend in the Dutch Golden Age, where self-portraiture became a means for artists to assert their identity and status.

In addition, Rembrandt’s self-portraits, including this early example, had a profound influence on the development of portraiture. His ability to convey the complexity of human emotion through subtle facial expressions and his mastery of light inspired countless artists, both during his lifetime and in subsequent centuries. Self-portrait (c. 1628) is a foundational piece in understanding Rembrandt’s artistic journey and his lasting legacy in Western art.

In this work, Rembrandt employs dramatic chiaroscuro, the strong contrast between light and dark, which would become a hallmark of his style. His face emerges from the shadows, illuminated by a single light source, creating a sense of depth and volume. The viewer’s attention is drawn to his eyes, which convey a quiet intensity and introspection. The soft, textured brushwork of the face contrasts with the looser, more undefined rendering of the rest of the figure, highlighting Rembrandt’s early experimentation with focus and detail to direct the viewer’s gaze.