Subject and Appearance

The painting depicts a stylish young man, although his age is debated. Despite his elegant pose, the sitter's angular features and somewhat heavy eyes suggest he is likely in his early to mid-forties rather than a young man.

Dress and Pose

The sitter is dressed in understated yet elegant attire, including a plain white collar left open at the neck, a black costume, and a hat. His pose, with one arm akimbo and the other resting on the table, conveys self-assurance and a sense of relaxation.

Attribution and Date

The painting is attributed to Rembrandt van Rijn without question. The date of the painting has been subject to interpretation due to the difficulty in deciphering the signature and date. Initially read as "Rembrandt f. 1662," it was later interpreted as "1663," but stylistically, it is now believed to date from around 1660.

Style and Technique

The painting showcases Rembrandt's characteristic brushwork, with smooth strokes and nuanced modulation of forms to capture the play of light on the sitter's face. The use of rapid strokes and wet-on-wet painting techniques is evident, particularly in the hair and the highlights on the forehead.

Condition

The painting has suffered from dense and discolored varnish, which obscures some of its original detail and three-dimensional character. There is also retouching, notably in the mustache, and condition issues with the thinly painted hands.

Possible Identity of the Sitter

The name of the sitter is not known, but there is a suggestion that it might be Govaert Flinck, a painter who studied with Rembrandt and was at the height of his fame when he died in 1660. The resemblance to an engraved portrait of Flinck supports this possibility.

Interpretation

The relaxed and informal pose of the sitter has led to interpretations that he might be depicted as a painter seated before a canvas, similar to Rembrandt's earlier depiction of Jan Asselijn in an etching from about 1647.