The art painting that would be scrutinized in this paper is Rembrandt’s Self Portrait in the National Gallery. The painting was sent by M. Lewinski I on 1st November 2001. It’s one of the finest, most exquisite pieces of art t that lies in the Gallery. It is central to the Gallery’s attraction, wherein visiting students, tourists, families etc always make it a point to snap it and take it with them as a part of their travel memorabilia. It lies on the East Wing of the National Gallery and in the words of a visitor is a “startling piece of art”. The painting has been construed very smartly and the entire space involved used to the best of its ability. The upper two-thirds of the painting are approximately ‘33.25’ by ‘26’. This part is home to Rembrandts’ face and found its way through to there in 1656. The entire masterpiece was completed in the same year by Mr. Rembrandt.
There are various nuances associated with a typical artist’s depiction of himself, and herself. While some paintings at times, become a victim of personal biases or self-obsession giving it the fake superficial look, others stand out because of the care-free less cautious exuberance bellowing through them. Typically artists across the globe will be found painting themselves well dressed and content. In most cases they are relaxing on an easel as they work along. Rembrandt chose the other way round. The portrait has a melancholic atmosphere oozing out while he looks exhausted, dejected and sad to an extent. The entire painting has been dimmed by shadowy shades. Only the face has been left to light up and rests in the center as the focal point of attraction of all light. One can make out that age is changing the contours of his shape and his means of existence. It’s softening while his hair takes on shades of gray. His eyes are conspicuous and stand out in the entire portrait. They are the center of attraction of his painting making one feel as if they had been provoked as painted along.
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