Creation and Context

This self-portrait was painted in 1669, just months before Rembrandt's death on October 4, 1669, at the age of 63. It is one of three self-portraits Rembrandt created in the year of his death, and it marks the culmination of a series of around 80 self-portraits he painted throughout his career.

Composition and Technique

The painting depicts Rembrandt wearing a deep red coat with a fur collar and a beret. His hands are clasped, and his direct gaze engages the viewer. Initially, the beret was larger and white, and his hands were positioned differently, holding a paintbrush and maulstick. These changes were revealed through X-ray analysis. Rembrandt used his characteristic limited palette of lead white, ochres, and red lakes. The painting features thick, layered brushstrokes, particularly evident in the rendering of his ageing skin.

Style and Interpretation

Despite his advanced age and the proximity of his death, the portrait conveys a sense of self-assurance and confidence. The focus is on the textures and colors of his ageing face, with meticulous attention to the sagging skin, blemishes, and other signs of age. The background and the details of his robe are painted more sketchily, with the emphasis on the face and its expressions. This creates an effect of intense self-scrutiny.

Provenance

The painting was part of several private collections before it was acquired by the National Gallery in London in 1851 for £430 10s.

Significance

This self-portrait, along with his other late works, reflects Rembrandt's continued mastery of his craft even in his final years. It also highlights his fascination with the human face and his ability to capture the subtleties of ageing with remarkable honesty. The painting is often seen as part of Rembrandt's process of self-examination, though his motives may have been more driven by professional curiosity about the human form rather than deep introspection.