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Although his likeness is faithful and familiar, his pose is affected, his left hand tucked into the breast of a costly and elaborate jacket. In his Self-Portrait of 1636–38 from the Norton Simon Museum, Rembrandt similarly portrayed himself in three-quarter profile, thoughtfully making eye contact with his audience from under a knitted brow. While these latter adornments were often used in Renaissance portraits to indicate actual military accomplishments, in Rembrandt’s painting they are mere theatrical props, which along with the dramatic lighting imply that we are to understand the work as a type of character study (called a tronie) rather than as a true portrait. The man is richly dressed in a sumptuous black velvet coat and feathered hat, sporting a gold-hoop pearl earring, as well as both a heavy gold chain and steel gorget around his neck. Rembrandt depicted this model so frequently that many assumed he was the artist’s father, though no evidence for this claim exists. The earliest of the paintings, Old Man with a Gold Chain (1631), is a bust-length painting of an elderly man. The focus exhibition is on display at gallery 213. His use of artifice and costumes not only celebrates a historical genre but also anticipates a future in which identity is something created by the artist, and humanity is expressed by everyday people.
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Taken together these four paintings show Rembrandt’s brilliant skill as a painter, especially as a painter of people, as well as his deep knowledge of historical subjects and art history. The paintings, Portrait of a Boy and Self-Portrait, join the Art Institute’s own Old Man with a Gold Chain and Y oung Woman at an Open Half-Door (from Rembrandt’s workshop) for a look at Rembrandt’s approach to portraiture-one that is decidedly more complex than it may first appear. Two portraits by Rembrandt are visiting the Art Institute from the Norton Simon Museum in Pasadena, California.
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