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Rembrandt's self-portrait as Zeuxis both adheres to and challenges the conventions of self-portraiture through its subjectivity. With a winking glance at the viewer, the painter reinterprets a long-standing tradition of self-reflection. Few artists have intertwined self-knowledge and self-revelation as effectively as Rembrandt. While he remains committed to traditional self-portrait conventions, he simultaneously breaks free from them through unabashed subjectivity. His practice of physiognomic experimentation reflects not only a theoretical exploration of 'passion' and 'expression' in painting but also serves as part of a market-driven image propaganda. The Cologne painting from his later years captivates through two main aspects: the psychology of aging and the interpretation of its central theme, leading to numerous reflections and speculations about the 'mystery' of the work. The painter at the easel—does he smile, laugh, or even weep? Does he present himself as Democritus or Zeuxis? Is he reflecting not only on his craft but also on mortality? One thing is certain: his playful glance at the viewer offers a fresh interpretation of a long tradition of self-examination.
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Rembrandt, Selbstbildnis als Zeuxis, Ekkehard Mai
- Langue
- Année de publication
- 2002
- product-detail.submit-box.info.binding
- (souple)
Modes de paiement
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- Titre
- Rembrandt, Selbstbildnis als Zeuxis
- Langue
- Allemand
- Auteurs
- Ekkehard Mai
- Éditeur
- Heenemann
- Publié
- 2002
- Format
- souple
- Pages
- 28
- ISBN10
- 3786124388
- ISBN13
- 9783786124382
- Séries
- Mots clés
- Nonfiction, Art / Culture, Beaux-arts
- Description
- Rembrandt's self-portrait as Zeuxis both adheres to and challenges the conventions of self-portraiture through its subjectivity. With a winking glance at the viewer, the painter reinterprets a long-standing tradition of self-reflection. Few artists have intertwined self-knowledge and self-revelation as effectively as Rembrandt. While he remains committed to traditional self-portrait conventions, he simultaneously breaks free from them through unabashed subjectivity. His practice of physiognomic experimentation reflects not only a theoretical exploration of 'passion' and 'expression' in painting but also serves as part of a market-driven image propaganda. The Cologne painting from his later years captivates through two main aspects: the psychology of aging and the interpretation of its central theme, leading to numerous reflections and speculations about the 'mystery' of the work. The painter at the easel—does he smile, laugh, or even weep? Does he present himself as Democritus or Zeuxis? Is he reflecting not only on his craft but also on mortality? One thing is certain: his playful glance at the viewer offers a fresh interpretation of a long tradition of self-examination.