By Marc Chagall
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Extra resources for 30 paintings
In this effect there is an unmistakeable relationship with the Old men disputing of 1628, and a dating in that year is plausible. In the Munich Self-portrait of 1629, on the other hand, the subject and the execution of the hair area and background are admittedly very closely related, but the brushwork is on the whole looser and hence more homogeneous, and the strength of the contrasts oflight and colour is diminished in favour of a unity of atmosphere. This is achieved, inter alia, through the fact that the brushstroke, plainly visible as such, has gained a certain independence of the form it is depicting.
Van Vliet in a series to which the contemporaneous Dutch term tronies (heads) seems to fit best. Similarly the Innsbruck Old man (no. A 29), dated 1630, was reproduced by van Vliet in an etching three years later, but this very small painting also belongs quite evidently to a number of tronies consisting in part of so-called 'self-portraits' of the kind Rembrandt had been painting in both small and large formats since 1629, and which did much to decide his reputation among his contemporaries and for posterity.
94. I PAINTING MATERIALS AND WORKING METHODS Fig. 6. Two light marks above the right hand, sharply defined at their lower edge, indicating damage caused to the panel during planing and filled in when it was primed (detail of X-ra y of no. A 7) Fig. 7. Detail of no. A 6, showing ground lying bare - particularly in the forehead and around the eye - and brownish underpaint in the shadow areas of the face being viewed with doubt 22 . The unexpected occurrence of quartz in the ground provided one of the possible criteria for authenticity which still had to be assessed to see what weight it carried.