1663, Rembrandt van Rijn, Self-Portrait as Zeuxis -- Wallraf-Richartz Museum (Cologne)
From the museum label:
DRAMATIC SMILE
As intriguing as the smile of Leonardo da Vinci's Mona Lisa, Rembrandt's laugh continues to interest beholders and researchers. How should we interpret the old man who shines out from the darkness and appears so human? Rembrandt prob- ably took on the role of the ancient Greek painter Zeuxis, mahlstick in his hand. He laughed himself to death over an ugly old woman sitting for a portrait. It is a drama, both comedy and tragedy. The painting style is also theatrical: Rembrandt literally sculpts with pastose layers of browns and golden tones. Indeed, a play of 1648 likened his art to haptically gleaming gold embroidery.
1663, Rembrandt van Rijn, Self-Portrait as Zeuxis -- Wallraf-Richartz Museum (Cologne)
From the museum label:
DRAMATIC SMILE
As intriguing as the smile of Leonardo da Vinci's Mona Lisa, Rembrandt's laugh continues to interest beholders and researchers. How should we interpret the old man who shines out from the darkness and appears so human? Rembrandt prob- ably took on the role of the ancient Greek painter Zeuxis, mahlstick in his hand. He laughed himself to death over an ugly old woman sitting for a portrait. It is a drama, both comedy and tragedy. The painting style is also theatrical: Rembrandt literally sculpts with pastose layers of browns and golden tones. Indeed, a play of 1648 likened his art to haptically gleaming gold embroidery.