Reflecting on Rembrandt

Did part of the glory of 17th-century self-portraits stem from the use of the projected image of mirrors, allowing a precision and accuracy that was not otherwise possible? Does the use of mirrors by Rembrandt (and others) account for the chiaroscuro and soft-focus effects that can be observed? A fascinating new study, Rembrandt’s self-portraits by Francis O’Neill and Sofia Palazzo Corner, pulls together the evidence.

Self Portrait with two circles,  by Rembrandt
Self Portrait with two circles *oil on canvas *114,3 x 94 cm *1665 – 1669

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