![]() One of Rembrandt’s most powerfully evocative paintings from the late 1630s, A Polish Nobleman displays a richness of conception and technique that is unmatched by any other painting by the master in the Gallery’s collection. The penetrating expression of A Polish Nobleman and the striking resemblance of the sitter’s features to Rembrandt’s, particularly in the area around the eyes and nose, make one wonder if this painting is not, in fact, a fanciful and liberally embellished self-portrait. ![]() By emphasizing the man’s furrowed brow and by shading his eyes, Rembrandt has portrayed him as a thoughtful individual. Through dramatic accents of light and dark on the sitter's face, bold brushwork, and dense application of paint, Rembrandt created a powerful, almost sculptural presence. ![]() Such exotic paintings allowed Rembrandt to expand the limits of portraiture because he was not constrained by traditional conventions. The beaver hat, dark fur cloak, and massive gold chain and medallion have suggested to many that the sitter was Slavic, but the painting's title has no factual basis. He received many commissions for portraits and attracted a number of students who came to learn his method of painting.Ī Polish Nobleman is probably not a portrait of a specific individual instead it represents a more generic exotic type that Rembrandt favored during the 1630s. Around 1632 he moved to Amsterdam, quickly establishing himself as the town’s leading artist. Upon completion of his training Rembrandt returned to Leiden. After learning the fundamentals of drawing and painting in his native Leiden, Rembrandt van Rijn went to Amsterdam in 1624 to study for six months with Pieter Lastman (1583–1633), a famous history painter.
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