レンブラントの《ブルジョアに扮した自画像》 (Br.17) : メランコリー=ヴァニタスをめぐって

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概要

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• Rembrandt produced this Self-portrait as a burgher in 1633. Strong light falls from the left, and a black hat casts a shadow on his face. Many his early self-portraits resemble this characterization. Therefore this chiaroscuro is not merely regarded as picturesque effect but is a very important point when examining the Glasgow Selfportrait. Recently H. Perry-Chapman has offered the interesting suggestion that the shadow has a special meaning. According to her, it is a sign of a melancholy from which sprung his inner, creative mind, she also says it shows that Rembrandt represented himself as a melancholy artist. It is true that her view is very interesting if we look at Rembrandt as a modern artist and search for the secret of his creative powers. However, another meaning makes an appearance if we compare that shadow with that of the Netherlandish portraits in the late 16th century and the early 17th century : Memento mori or Vanitas. Sources of this can be found in the Bible and Karel van Mander's Schilderboeck (1604). In fact, recent interpretations suggest that Rembrandt's self-portrait (Br. 6, 8) shows the Vanitas. The self-portrait in Glasgow has the same shadow, youth, and elegant attire, which make it possible to interpret it as a Melancholy-Vanitas Self-portrait.

• 1994-03-31

著者

• 尾崎 彰宏

  東北大学

関連論文

• レンブラントの《ブルジョアに扮した自画像》 (Br.17) : メランコリー=ヴァニタスをめぐって
• オランダ美術における聖と俗 : 静物画の勃興をめぐって(東部会平成二一年度第一回例会,例会・研究発表会要旨)
• レンブラントの『ブルジョアに扮した自画像』 (Br.17) : ヴァニタスをめぐって(美学会第四十四回全国大会報告)
• H・ペリー・チャップマン『レンブラントの自画像 : 十七世紀のアイデンティティにかんする研究』, H. Perry Chapman, Rembrandt's Self-Portraits : A Study in Seventeenth-Century Identity, Princeton, 1990, 189p.
• レンブラントの村落風景版画に関する一考察(美学会第三十六回全国大会報告)

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