At the end of class this past Thursday, we looked at Velazquez's monumental painting "Las Meninas" (3.2 x 2.7 m), which includes among many other figures a self-portrait of the artist at his easel. This painting by the young Rembrandt is by contrast very small (just 24.8 x 31.7 cm), yet it still makes a provocative claim about its maker. Considering the question of how artists participate in the construction of their own myths and fame, as per our section discussions last week, how would you describe Rembrandt's compositional choices and self-presentation in this painting as similar to and/or different from that of Velazquez?
When looking at Velazquez's piece, there are many indicators that can lead the viewer to make an assumption about why Velazquez may have included himself in this piece and what it says about him. While we can not see the composition, there are many possibilities of what the piece could be. It could be the parents which are depicted in the mirror on the back wall, it could be the "Les Maninas" piece itself, or it could be something completely unrelated to the things being depicted in the "Les Maninas" piece. Since there are two other very compelling choices, I feel that it is hard to assume that Velazquez is painting something that is unrelated to what is going on in the scene, and I believe that he is painting the parents that are depicted in the mirror. While this may seem to be unnecessary for him to include in this piece, at least there seems to be some reason. When compared to Rembrandt's piece, Velazquez's piece seems to make much more sense. Rembrandt's piece, unlike Velazquez's is only a depiction of himself in a relatively blank and nondescript room. This is very interesting as it leaves the viewer confused on what could be behind the canvas that is depicted in the piece. This seems to me that, even though compositionally there is more going on in Velazquez's piece, Rembrandt is showing a much more self-impressed version of himself in which he is taking a step back and admiring how amazing of a job he has done. Since there are no other people depicted in the room with him, and there is no mirror hinting towards whom the piece may be for, I believe that the canvas depicted in Rembrandt's piece is this one of himself in the room. This may seem counterintuitive as Rembrandt is depicted in a much lesser room, with no wealthy family to depict, but I think he wanted to show himself in this way to make it known that he is just as virtuous as Velazquez even if he, at the time, did not have such an important commission.
ReplyDeleteVery interesting thoughts, Harry! I particularly like the idea that Rembrandt might be making a painting of himself, since we know that he created over 100 self-portraits over the course of his career. Of course, we can't know what is on the canvas standing in Rembrandt's studio, but there is a clear trope nonetheless that there is a picture within the picture, and that Rembrandt is looking out at the viewer and posing for us.
DeleteRembrandt's piece offers a much more in depth look at the artist. Though in Velazquez's painting " Les Maninas", we see the artist's pure cleverness in the way that he sets up the painting. The composition makes our eye travel from figure to figure questioning who this painting is actually about. There is uncertainty about Velazquez's objective, which only highlights his intellect. His own self-presentation in the painting illustrates how he is the mastermind of this creation. Rembrandt's piece is by far simpler in its composition. However, I think this simplicity portrays Rembrandt in a much, more learned manner than Velazquez's. Velazquez's piece is overly intricate and only puts the artists himself on this pedestal, because the painting is in fact so brilliant. Rembrandt seems to have taken himself back from the complex of the composition to offer a more intuitive understanding of who he is as a painter. Rembrandt's piece offers up only himself and his own canvas; there are no other distractions compared to Velazquez's piece. Rembrandt portrays himself humbly at work, which only highlights his attentiveness and genius when creating his own painting. He has taken a step back it seems to observe his own canvas. With this moment captured by Rembrandt, he has encapsulated this moment forever. His self-representation has illustrated someone who has taken a step back to ponder. Since this is what is on the canvas eternally, he becomes forever a "thinker". Both Velazquez and Rembrandt were able to capture in their genius in a single moment on a canvas. The sheer fact that they were both able to epitomize these moments in a snapshot accurately reinforces their self-representations as brilliant minds.
ReplyDeleteJulia makes a really nice point about how we see Rembrandt here both as the creator of the canvas currently on his easel AND as a thinker who steps back from his work to ponder what he has created and to pose confidently for the viewer at the same time. Both the hand and intellect are present here.
DeleteThe composition of Rembrandt’s piece is simpler than Velazquez’s piece. The simple composition of Rembrandt’s piece makes the artist the focus. Rembrandt is standing away from the canvas looking at it. Through this, he depicts himself as a thinker. He also shows himself as a creator by painting himself holding brushes. In Rembrandt’s piece it is unclear what he is painting. The canvas is turned away and the viewer cannot see what is behind it. The way the canvas is turned and the way Rembrandt is facing it looks as if he is painting the viewer of the painting. On the other hand, Velazquez makes it clear what he is painting in his piece. In the back of the room there is a mirror, which shows Velazquez is painting the parents. In the painting the other people such as the child are very dresses up. It can be assumed she will join her parents for the portrait. Velazquez is also standing away from the canvas. Like Rembrandt, he displays himself as both a thinker and creator. He is thinking and looking at his canvas while holding brushes. Both artists show themselves as forever a thinker and creator by permanently painting a scene in which they are both.
ReplyDeleteAgain, good analysis of how both Velazquez and Rembrandt emphasize their creative process through these self-portraits, but also true that there is greater mystery to Rembrandt's work. With the canvas turned away from the viewer, we get no hint of what he is actually painting.
DeleteRembrandt's compositional choices and self-presentation in his self-portrait, like Velazquez’s Las Meninas, call into question the role of the viewer and her participation in the painting. In Rembrandt’s painting, similar to Velazquez, the artist is positioned in front of a canvas looking at the viewer. There is a choice by both artists to add ambiguity on the subject of the canvas and whether they are in fact painting the viewer. The viewer is always changing and reemerging as a new agent that interacts with both paintings in different ways, adding a movement and freshness to both pieces as the artists in the pieces reciprocate (or are expected to) the changes of each new viewer on their canvases, building an ever-growing narrative. However, Rembrandt’s self-portrait keeps him in shadow, as if reconsidering the viewer and his ever-changing piece, stepping away from such a challenge almost, conceding more power in the relationship to the viewer. Velazquez, however, is well lit and strong in his pose and gaze, re-confronting each new viewer, maintaining much more power in the relationship. For his piece we are also amidst the Spanish court, a place of wealth and stature, and the viewer is almost confronted by her interruption of such wealth and power as she is looked at by Velazquez. In Rembrandt’s the humble surroundings seem to give the viewer more power and stature, stressed further by how far away and small Rembrandt is and how large and up-close the viewer feels.
ReplyDeleteExcellent point, Savannah! Both Velazquez and Rembrandt are deeply concerned with the relationship between their works and the *viewer* who interacts with them, and both play with the boundary between the real and depicted space in the way they position their easels and portray themselves looking out directly at their audience. There is a sense of these images always happening as an encounter in the present moment.
DeleteI do agree with the previous argument that Rembrandt's composition is much simpler than that of Velasquez. This makes Rembrandt the focus of his painting, while in Velasquez, Las Meninas is the protagonist instead of the painter himself. Although both painters painted themselves holding their brushes and standing in front of their canvases, the costumes they are wearing are significantly different. Velasquez's attire is much more elaborate. The setting of these two painting are different two. One is painted in a sketchy studio while the other one was painted in the princess' palace.
ReplyDeleteOne similarity that these two paintings share is the use of light. In Velasquez's Las Meninas, the lightest figure is the princess herself. While in Rembrandt's painting, all the light focuses on the canvas, as if Rembrandt's own working is shining. Thus, as viewers, we can conclude that although these two artists conclude themselves in their paintings in a similar way, their emphasis and purpose are significantly different. Velasquez was the court painter. He painted Las Meninas based on the commission. Even though he attempted to show his self-consciousness in this painting, he still could not make himself the focus of his painting, while Rembrandt had much more freedom in making paintings. Rembrandt did not emphasize anything except for his canvas. He implied the value of his painting and his virtuosity as a painter.
Excellent point about the differing status of these two artists. The fact that Velazquez was a court painter and making his painting to gift to the Spanish King significantly impacted the nature of his self-presentation, whereas Rembrandt in his much smaller and more intimate work had a freedom to play with his creative identity and self-presentation.
DeleteBoth Rembrandt's self-portrait and "Las Meninas" adopt the composition which has a frontal view of the artist himself and the back of the canvas. The block of seeing the front of the artwork creates a sense of endless possibilities and emphasis on the creativity of the artists. There are also some differences between these two works. For Rembrandt's self-portrait, he depicted himself as a dwarfed figure, emphasized and enlarged the scale of the canvas to show the importance and significance of art in his life. In addition, contrasted by the old background, the canvas is the only new object in the whole scene. In contrast, in "Las Meninas", there are more distractions from artistic aspects, such as the elaborate and luxurious clothes of the princess and her maids, which indicate the artist's attention to material world.
ReplyDeleteAnother good observation about how Rembrandt pares down his composition almost exclusively to himself and the canvas, while subtle details like the chipped wall and worktable occupy far less attention that the many other figures besides the artist himself in the foreground of Velasquez's painting.
DeleteBoth artists portray themselves in the mists of painting by standing behind the easel. One does not see or know exactly what they are painting, as both subjects would be in the front where the viewer is standing. Velazquez portrays himself as very influential and important by including himself in the same portrait as the royal family. Thus giving the understanding that he is important and famous enough to be in their company. Rembrandt is the only person in the piece and cast in shadow, giving the appearance he is less famous and he is also alone in a simple room. Overall Velazquez presents himself at a regal level but Rembrandt presents himself as appearing lost and having little value on material goods. The easel is the main focus, thus possible showing that painting in the main focus and dominates Rembrandt’s life.
ReplyDeleteVery true that we get a sense of Velazquez as a much more looming and publicly recognized artist than we do from Rembrandt's painting. In part, this also has to the do with the timing of these works within their careers. Rembrandt's Self-Portrait is a very early work before he has really achieved fame and prominence in Amsterdam, whereas Velazquez is painting at the height of his prominence as a court artist in Spain.
DeleteIn this self portrait, Rembrandt is bring awareness to himself as an artist and a thinker. He has a blank look on his face and is placed at a distance from the canvas. It explicitly shows his status as an artist. What is striking is the size of the canvas compared to the artist. From a perspective view, the audience's eyes is first directed to the canvas as well. The artist is wearing regal clothes, but because of the size difference he seems to have a "doll-like" figure. The blankness of his expression also could point to the idea that he does not know what he is painting. Unlike the status that his clothes put him in, Rembrandt is in a very decrepit room; the walls are cracking and the door is broken. He isn't even holding the panel which is hung on the wall. He seems to be lost.
ReplyDeleteReally nice visual analysis of Rembrandt's painting, especially in noting the details of the room itself!
DeleteDespite the different sizes of their works, both artists drew themselves facing towards the viewers, somehow inviting us into the scene. Leaning against the desk and holding his brush, Rembrandt is standing in his room without much decoration, which might suggest that Rembrandt is devoted to art with all his heart and he might have gone bankrupt. And the small size of this self-portrait makes the artist the central figure: he is making the real art for himself. While Velazquez portrays himself as the artist working for the noble. He might be part of the painting, but he can never be the focus. Unlike the little material goods in Rembrandt's place, the place where Velazquez is standing is full of fortune and power, which is indicated by the clothes the figures are wearing. And the large size of Velazquez may serve as a display of wealth and power.
ReplyDeleteNice comment that also relates back to some of the earlier observations about the differing portrayal of status between Velazquez and Rembrandt, and how we see that difference in their relative placement and prominence.
DeleteIn both paintings, the artists portray themselves facing towards the viewer. The artists are looking directly at the viewer, engaging the viewer in the scene. There is ambiguity in the subject that the artists are painting in both works. In both paintings, the canvases are turned away from the viewer, making us want to step into the painting and see what is on the canvases. The setting of the two paintings are very different. Velazquez was painting in a royal palace, while Rembrandt was painting in his own studio. Although Velazquez was trying to show his self-awareness by putting himself in the scene, he was not able to place himself as the focus because of his role as a court painter serving the royal family. Rembrandt, on the other hand, has more freedom in expression. The humble setting of his studio and the simplicity of the composition give him power and authority. The fact that the canvas is placed in front and he is stepping away from his painting shows the value of his work and his pride as the creator of his work. I also found it interesting that the canvas portrayed in the painting is so much larger than this actual painting which is only 24.8 x 31.7cm. The exaggeration in the size of the canvas might serve to emphasize his power as a creator.
ReplyDeleteAmy makes an excellent point about how Rembrandt's painting itself is extremely small, but the canvas he shows himself painting within the composition is much larger! This suggests that whatever he has depicted himself working on is perhaps a major and more monumental commission, which indeed emphasizes his power and status as artist.
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