Self-Portrait as the Apostle Paul

According to Ernst Van de Wetering, the painting may have been made with the wet-on-wet technique. Rembrandt demonstrates further refinement with the distribution of light and dark elements within the figure and the background image. He shows great control over the variation of brushstrokes. The rapid paint strokes within the turban stand in contrast with the impasto method seen on the lit forehead of the figure. This method accentuates the light present on Apostle Paul’s face, creating the appearance of wrinkles set on his forehead. Van de Wetering notes that these elements all further the impression of space within the portrait. Rembrandt plays with different stylistic choices, such as movement, to enhance the viewers’ perception of light. The pages, for example, are slightly curled at the top which is further emphasized by the light. This portion of the book contrasts the rolled leather that remains in the shadows of the painting, highlighting Rembrandt’s use of space and light. The rolled leather of the book also differs from the rest of the painting's coloristic elements, as the blueish-gray strokes stand out from the otherwise cohesive brown and beige palette. Van de Wetering speculates that Rembrandt may have based his likeness in this work on earlier self-portraits instead of looking at a mirror. The pose and facial features in this work resemble those found in earlier works, suggesting that they may have served as references. == Self-portrait historié ==

Saint Paul is identifiable through the sword under his arm and a manuscript in his hand, which were traditional attributes of the apostle. Rembrandt's depiction of himself as St. Paul is an approach referred to as self-portrait historié, where artists disguise themselves as renowned historical or religious figures. Self-portrait as the Apostle Paul is not Rembrandt's only painting of St. Paul. He first depicted St. Paul as early as 1627, 34 years before the completion of Self-portrait as the Apostle Paul. While Rembrandt has various paintings with St. Paul as the subject, Self-portrait as the Apostle Paul is unique in how St. Paul is depicted. In previous paintings, such as the 1627 Saint Paul in Prison, Rembrandt painted the apostle with a long beard and receding hairline. The Self-portrait as the Apostle Paul more closely resembles Rembrandt's other self-portraits. == Rembrandt's affinity for St. Paul ==

Art historians believe that Rembrandt’s choice to depict himself as the Apostle Paul rather than using a model was likely deliberate, not simply a matter of convenience. Models were in no short supply, and finding a model with the physical features that Rembrandt desired would not have been challenging. Rembrandt's decision to use himself as the model may have been due to his feelings of kinship with the apostle. This kinship was partly rooted in his religious affiliation. During the 17th century, the Apostle Paul was prominent in the Protestant religion. Rembrandt's identification with Paul may have also stemmed from the apostle's role as a religious teacher, which Rembrandt may have seen as paralleling his own use of art as a means of explicating scripture. ==References==