about ninety paintings were counted as Rembrandt self-portraits, but it is now
known that he had his students copy his own self-portraits as part of their training.
Modern scholarship, especially the Rembrandt Research Project, has reduced the
autograph count to over forty paintings, as well as a few drawings and thirty-one
etchings, which include many of the most remarkable images of the group.
the etchings are mostly informal, often playful tronies, studies of extreme facial
expressions or portraits in what amounts to fancy dress; in several the clothes are
the fashions of a century or more earlier. In others he is pulling faces at himself.
His oil paintings trace the progress from an uncertain young man, through the dapper
and very successful portrait-painter of the 1630s, to the troubled but massively
powerful portraits of his old age. Together they give a remarkably clear picture
of the man, his appearance and his psychological make-up, as revealed by his richly
weathered face. To Kenneth Clark, Rembrandt is “with the possible exception of
Van Gogh, the only artist who has made the self-portrait a major means of artistic
self-expression, and he is absolutely the one who has turned self-portraiture into
an autobiography.”
While the popular interpretation is that these images represent a personal and introspective
journey, it is also the case that they were painted to satisfy a market for self-portraits by
prominent artists. Both paintings and etchings seem to have often been bought by
collectors, and while some of the etchings are very rare, others were printed in considerable
numbers for the time. No self-portraits were listed in the famous 1656 inventory, and only
a handful of the paintings remained in the family after his death.
were created by the artist looking at himself in a mirror, and the paintings and drawings therefore reverse his actual features. In the etchings the printing process creates a reversed image, and the prints therefore show Rembrandt in the same orientation as he appeared to contemporaries. This is one reason why the hands are usually omitted or “just cursorily described” in the paintings; they would be on the “wrong” side if painted from the mirror. References to large mirrors occur at various points from the 1650s, and the later portraits include several showing him at a longer length than before; about 80 cm was the maximum height for a sheet of mirror glass technically possible in Rembrandt’s lifetime. One may have been bought about 1652 and then sold in 1656 when he went bankrupt. In 1658 he asked his son Titus to arrange delivery of another one, which broke en route to his house.