NDA@SZTAKI

THE PITFALLS OF OBVIOUSNESS THE SELF-FRAMING PICTURE AND THE “TELEOLOGY” OF PAINTING IN A LATE SELF-PORTRAIT BY REMBRANDT

Rényi, András

Akadémiai Kiadó

2017

ND Painting / festészet

This study aims at a new interpretation of the late Rembrandt’s mysterious Self-Portrait with Two Circles at Kenwood House (1665). Former readings of the picture neglected the fact that in this case the work of painting itself became the explicit subject. Both the psychological evocativeness of the personality represented and the “circles” as enigmatic symbols elicited especial interest as they are very much in evidence – and although commentators realized the presence of the brush, palette and mahlstick, practically noone took notice of the work in progress itself, vanishing behind the figure in the grey area of the unusually light background. Following Gary Schwartz I argue that with the two circles Rembrandt refers to the legendary contest of Apelles and Protogenes told by Pliny and Vasari’s famous story about Giotto’s “O” – both stories are about the competence of the painters to understand abstract tracks as signs of artistic skills. By minimizing the iconic difference between the real and the painted canvas, Rembrandt indicates his ambition to be part of the contest of the great painters of the past – by showing himself present as an imaginary person before the imaginary canvas, and, at the same time, by calling attention to the presence of the material tracks of his “rembrandtian” manner, put between the fine tracks of his ancient predecessors, on the real canvas.

magyar

Article

PeerReviewed

info:eu-repo/semantics/article

text

http://real.mtak.hu/72069/1/170.2017.58.1.6.pdf

Rényi, András (2017) THE PITFALLS OF OBVIOUSNESS THE SELF-FRAMING PICTURE AND THE “TELEOLOGY” OF PAINTING IN A LATE SELF-PORTRAIT BY REMBRANDT. Acta Historiae Artium Academiae Scientiarum Hungaricae, 58 (1). pp. 127-151. ISSN 0001-5830

http://real.mtak.hu/72069/

https://doi.org/10.1556/170.2017.58.1.6