H. Perry Chapman has produced the first comprehensive treatment of the entire body of Rembrandt's self-portraits in their cultural and historical setting and in the context of the artist's life. Prevailing scholarship has tried to discredit the idea that the self-portraits stemmed from any particular inner need, but Chapman counters by presenting fascinating evidence that they represent a conscious and progressive quest for individual identity in a truly modern sense. "H. Perry Chapman, in my view, gives us the Rembrandt we need in the 1990s. . . . [Her] sensitivity to questions of style and expression, combined with original research, leads to a conclusion . . . that `Rembrandt's lifelong preoccupation with self-portraiture can be seen as a necessary process of identity formation or self-definition'--in short, autobiography."--Walter Liedtke, The Journal of Art "Chapman is a graceful writer. Her arguments are balanced, well documented, and vigorously pursued. . . . The publication of this book is cause for gratitude and joy."--Thomas D'Evelyn, Christian Science Monitor

A collection of Rembrandt's self-portraits throughout his life.

A legendary painting by Rembrandt forms the centerpiece of this exploration of self-portraits by leading artists of the twentieth and twenty-first centuries. Published to commemorate an exhibition presented by Gagosian in partnership with English Heritage, this stunning volume centers on Rembrandt's masterpiece Self-Portrait with Two Circles (c. 1665), from the collection of Kenwood House in London. The painting is considered to be Rembrandt's greatest late self-portrait and is accompanied here by examples of the genre from leading artists of the past one hundred years. These include works by Francis Bacon, Jean-Michel Basquiat, Lucian Freud, and Pablo Picasso, as well as contemporary artists such as Georg Baselitz, Glenn Brown, Urs Fischer, Damien Hirst, Howard Hodgkin, Giuseppe Penone, Richard Prince, Cindy Sherman, and Rudolf Stingel, among others. Also featured is a new work by Jenny Saville, created in response to Rembrandt's masterpiece. Full-color plates of the works, generous details, and installation views of the exhibition accompany an expansive essay by art historian David Freedberg that provides a close look at the self-portraits created by Rembrandt throughout his life and considers the role of the Dutch master as the precursor of all modern painting.

Heda's Banquet Piece, Frans Hals' Willem Coymans, and Rembrandt's Lucretia. Paintings by these and other masters attracted the American collectors P. A. B. Widener, his son Joseph, and Andrew W. Mellon, whose bequests form the heart of the National Gallery's distinguished and remarkably cohesive collection of ninety-one Dutch paintings.

"In 1634 the up-and-coming painting talent Rembrandt van Rijn wed the love of this life in Friesland: Saskia Uylenburgh, the daughter of a councillor at the Court of Friesland. The story of their marriage is also that of seventeenth-century marriages in general, from courtship to drawing up a will. How did such a stylish wedding come about, and how did life proceed afterwards, when love and suffering were shared? Using evocative paintings, etchings, documents and precious wedding gifts, this book shows us the world of Friesland's most famous bride and groom ever--and that marriage vows back then actually appear to differ little from those of today."--from back cover

Rembrandt's drawings display his emotional state with a candor unseen in other works. They function as a repository for his unfiltered feelings and perspectives of the world that surrounded him. Be it through haunting sketches of his first wife in the grips of a fatal case of tuberculosis, simple scenes of street life, or studies of elephants and tigers, Rembrandt communicates his feverish thirst for images, and his ability to represent these through the lens of his immediate emotional state. Commemorating the 350th anniversary of the artist's death and published in tandem with an exhibition at the Rijksmuseum of unprecedented scale, this stunning XXL monograph is the complete collection of Rembrandt's works on paper. Through the 700 drawings, brilliantly printed in color for the first time, and 313 etchings in pristine reproduction, we explore Rembrandt's keen eye, deft hand, and boundless depth of feeling like never before; and above all, we witness that he was far more than just a painter.

Rembrandt was an esteemed artist in his own time as well as in the present.

Irrational Marks: Bacon and Rembrandt is Ordovas' inaugural exhibition and the first to be devoted to exploring the connections and influences of Rembrandt's late self-portraits on Francis Bacon's own self-portraits. Bacon considered Rembrandt's self-portraits the artist's greatest works. He spoke in depth about Rembrandt's Self-Portrait with Beret in the Musee Granet in Aix-en-Provence, which he often visited, yet his creative dialogue with Rembrandt's art has been, until now, largely overlooked."

This book, written by authorities in the field, maps the many developments in Rembrandt’s self-portraiture during his life and attempts to explain exactly why this genre played such a dominant role in his work. The authors give new emphasis to the tradition of self-portrayal in Netherlandish art and the impact of his innovative style on his contemporaries (whether artists or collectors) and on his followers. Significant reinterpretations of Rembrandt’s approach also arise from a close investigation of lesser-known aspects of his work, such as his manipulation of his features or his depiction of himself in a variety of highly authentic historical costumes.

Catalog of an exhibition held at the Morgan Library & Museum, June 3-September 18, 2016.