Bøger af Marieke de Winkel

Few devotees of the form can approach Rembrandt Harmenszoon van Rijn's radical contributions to self-portraiture. Challenging the conventions enshrined by his predecessors, Rembrandt transformed the art into a fully realized medium capable of communicating emotional depth rather than favorably immortalizing one's likeness in the finest trappings of luxury. With more than 80 works spanning paintings, etchings, and drawings, the Dutchman's lifelong practice of self-portraiture functions as a means of concretizing that which is fleeting. Across four decades, one constant is particularly striking across media and styles--Rembrandt's dedication to presenting himself from multiple perspectives, celebrating the multiplicity of the individual and championing the unfiltered portrayal of emotional expression.Apart from the thematic concerns present within Rembrandt's suite of self-portraits, the works themselves are rich with technical innovation and experimentation. There is an unmistakable humanity present across the entirety of this oeuvre, each expressive brushstroke and obfuscated feature amounting to an unflinchingly honest characterization of himself, in all his foibles, contrasting states of feeling, and stages of life.This monograph renders all of Rembrandt's self-portraits - from his first experimentations at age twenty-two to his final self-portrait painted a year before his death - and stands testament to a life committed to revolutionizing painterly practice both in content and form.

Few devotees of the form can approach Rembrandt Harmenszoon van Rijn's radical contributions to self-portraiture. Challenging the conventions enshrined by his predecessors, Rembrandt transformed the art into a fully realized medium capable of communicating emotional depth rather than favorably immortalizing one's likeness in the finest trappings of luxury. With more than 80 works spanning paintings, etchings, and drawings, the Dutchman's lifelong practice of self-portraiture functions as a means of concretizing that which is fleeting. Across four decades, one constant is particularly striking across media and styles--Rembrandt's dedication to presenting himself from multiple perspectives, celebrating the multiplicity of the individual and championing the unfiltered portrayal of emotional expression.Apart from the thematic concerns present within Rembrandt's suite of self-portraits, the works themselves are rich with technical innovation and experimentation. There is an unmistakable humanity present across the entirety of this oeuvre, each expressive brushstroke and obfuscated feature amounting to an unflinchingly honest characterization of himself, in all his foibles, contrasting states of feeling, and stages of life.This monograph renders all of Rembrandt's self-portraits - from his first experimentations at age twenty-two to his final self-portrait painted a year before his death - and stands testament to a life committed to revolutionizing painterly practice both in content and form.

Rembrandt schuf über 80 Selbstdarstellungen in Form von Gemälden, Radierungen und Zeichnungen - mehr als jeder andere Künstler vor ihm. Das Selbstporträt war ihm vor allem stilistisches Experiment. Ob als verschmitzter junger Mann, in der Pose des Soldaten oder Orientalen, im biblischen oder mythologischen Gewand, mal als Melancholiker an der Staffelei, dann wieder als Bürger im Sonntagsstaat - jeder expressive Pinselstrich, jeder verschleierte Gesichtszug diente der Charakterisierung einer jeweils anderen Facette seiner Person.Durch die präzise Erfassung von Stimmungen, Mimik, und teils flüchtigen Momenten revolutionierte Rembrandt die Kunst des Selbstporträts. Nicht der repräsentative Idealtypus stand primär im Mittelpunkt, sondern die genaue Beobachtung eines Künstlers, der selbst sein häufigstes Modell war. Neben ihrer stilistischen Vielfalt und dem Gespür für das Menschliche bestechen die Werke durch große Experimentierfreude: die feinen, mit grober Rohrfeder in die feuchte Patina geritzten Locken, die subtil Licht reflektieren. Oder die radierten Bildnisse als virtuose Fingerübungen in der Darstellung des eigenen Mienenspiels.Dieser Band präsentiert sämtliche Selbstporträts - von den ersten Werken im Alter von 22 bis zum letzten Bildnis, das kurz vor seinem Tod entstand - und ist Zeugnis eines Lebens, das sich der Revolutionierung der malerischen Praxis in Inhalt und Form verschrieben hatte.