Self-Portrait, Behind a Parapet

1648

Ferdinand Bol(Dordrecht 1616 – 1680 Amsterdam)oil on canvas
85.5 x 71 cm
signed and dated in dark paint, on sheet ofpaper along lower right: “Bol. fecit 1648”
FB-107© 2017 The Leiden CollectionSelf-Portrait, Behind a Parapet
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How To Cite
Yeager-Crasselt, Lara. "Self-Portrait, Behind a Parapet." In The Leiden Collection Catalogue. Edited by
Arthur K. Wheelock Jr. New York, 2017.
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© 2017 The Leiden CollectionSelf-Portrait, Behind a Parapet
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Seated behind a parapet, his right arm resting with assured elegance on a

Comparative Figuresrichly patterned pillow, Ferdinand Bol commands the gaze of the viewer inthis refined and fanciful self-portrait.[1] Bol portrayed himself in theforeground of the picture plane in a three-quarter-length pose, wearing a
deep red and gold-trimmed velvet cloak, thick gold chains and medallion,
and a black beret topped with a long arched feather. He exudes
confidence and grace, and a bit of youthful arrogance. Bol’s signature andthe date of 1648 can be read on the paper he holds gingerly near the edgeof the parapet.[2] Against the muted brown background, strong contrasts oflight and dark model his dignified form and reveal the varied textures of thefabric, particularly the sheen of the gold thread on his red cloak. His face isdistinguished by a small moustache and goatee, while the brown curls of
his hair reach his shoulders.

Fig 1. Rembrandt van Rijn, SelfPortrait at the Age of 34, 1640, oilon canvas, 102 x 80 cm, National
Gallery, London, NG672, ©
National Gallery, London / Art
Resource, NY

Bol executed this painting at the age of thirty-two, and though he alreadyenjoyed a prosperous career in Amsterdam, the portrait’s heightened
splendor and historicizing costume belonged to an imagined artistic andgentlemanly persona rather than to a contemporary reality.[3] For thisinventive mode of self-representation, Bol turned to Rembrandt van Rijn
(1606–69) as his source of inspiration. Scholars have long noted how Bolmodeled this image, as well as a number of his other self-portraits andtronies from the mid- to late 1640s, on Rembrandt’s 1640Self-Portrait at
the Age of 34 in the National Gallery, London (fig 1).[4] Following
Rembrandt’s model, Bol has here situated himself behind a balustrade,with his right arm protruding ever so slightly into the viewer’s space. Hisvaried brushwork and use of chiaroscuro to create rich tonal contrasts also
derive from Rembrandt’s prototype.[5] Bol’s costume was similarly
imaginative, combining, as it does, sixteenth-century elements, such as

Fig 2. Rembrandt van Rijn, SelfPortrait Aged 23, 1629, oil onwood, 89.7 x 73.5 cm, Isabella
Steward Gardner Museum,
Boston, P21n6

the doublet and beret, and contemporary elements such as the red
cloak.[6]Rembrandt’s London Self-Portrait was an assertive statement of his
aspirations and capabilities as an artist.[7] It evoked his status andsuccess, as well as his Italian sources of inspiration: Raphael’sPortrait ofCastiglione and Titian’s Portrait of a Man.[8] Bol would have been wellaware of these associations, and by basing his self-portrait on
Rembrandt’s example, he positioned himself as a protégé of his masterand within the framework of his great Renaissance predecessors. While itis impossible to consider Self-Portrait, Behind a Parapet without

Fig 3. Ferdinand Bol,
Self-Portrait, 1646, oil on canvas,
102 x 85.5 cm, Dordrechts© 2017 The Leiden CollectionSelf-Portrait, Behind a Parapet
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Rembrandt’s precedent, the sophistication of this image demonstrated

Museum, Dordrecht

Bol’s keen interest in self-representation and willingness to assert his own
artistic identity.[9]Bol both departed from and fused together Rembrandt’s models increating this self-portrait. Large gold chains—a mark of the nobility of thepainter’s profession—lie imposingly across his chest.[10] Considering thatBol was never granted a gold chain, the inclusion of them here
demonstrates his self-assurance about his abilities as a painter.[11] In thisregard, Bol’s personality may have been similar to Rembrandt’s youthfulsense of self as evident in his 1629 Self-Portrait Aged 23 at the Isabella
Stewart Gardner Museum (fig 2).[12] This painting, created when
Rembrandt was still in Leiden, shows the young artist similarly wearing agold chain, although, like Bol, he was never given one by a wealthy or
noble patron.
Bol was deeply invested in self-portraiture in the second half of the1640s.[13] In his earliest dated Self-Portrait from 1646, he depicted himself
wearing a black beret, a gold-trimmed red cloak, and a thin gold chain
around his neck (fig 3).[14] He also extended his right gloved hand toward
the viewer in a rhetorical gesture that activates the pictorial space. Bol
further modified this portrait type in his Self-Portrait in Springfield, dated
one year later. In this work, he portrayed himself behind a balustrade
within a stone archway while pushing aside a gold-colored curtain.[15] Bolappears noticeably older in the Dordrecht and Springfield works, and his
facial features have changed, including a wider nose and chin and thicker
moustache and goatee. These differences in physiognomy have led
scholars to question the identity of the sitter in this group of self-portraits,
yet they all seem to represent the artist.[16] The Leiden Collection SelfPortrait stands out in this group in its blending of portraiture and fantasy,
while sumptuously displaying Bol’s pictorial acumen.[17] For all thesereasons, this striking Self-Portrait is a fitting capstone to The Leiden
Collection’s outstanding group of works by Ferdinand Bol, the largest
assemblage of his paintings outside of the Hermitage.

-Lara Yeager-Crasselt© 2017 The Leiden CollectionSelf-Portrait, Behind a Parapet
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Endnotes
1. See Albert Blankert, Ferdinand Bol (1616–1680): Rembrandt’s Pupil (Doornspijk, 1982),
67, 119, no. 63. There is a known copy of FB-107, executed on panel and oval inshape—one of the few works on panel done by Bol—though its present whereabouts are
unknown. It has the same composition as FB-107 with nearly identical measurements,
except for slight cropping on its sides. Blankert, following the opinion of Mellaart, believed
the work to be good copy by either Bol or a follower. See J. H. J. Mellaart, “Self-Portraits byBol,” Burlington Magazine 43, no. 247 (1923): 154; Albert Blankert, Ferdinand Bol(1616–1680): Rembrandt’s Pupil (Doornspijk, 1982), 119, no. 63a. Recent technicalinvestigation has shown that there were triangular shapes in the upper corners of FB-107
previously painted black. These areas were subsequently toned to match the backgroundcolor during restoration. These changes suggest that FB-107 may originally have been taller,
and possibly painted with a shallow arched upper edge in a way similar to Bol’s self-portraits
in Springfield and London. See Ferdinand Bol, Self-Portrait, ca. 1647, oil on canvas, 97.4 x
77.8 cm, Springfield Museum of Fine Arts, Massachusetts (see discussion below);
Ferdinand Bol, Self-Portrait with Palette, ca. 1653, oil on canvas, 105 x 82.5 cm (rounded attop), private collection, London.
2. The date has been previously read as 1643 or 1647.
3. For Bol’s early career in Amsterdam, see the artist’s biography in this catalogue, and Albert
Blankert, Ferdinand Bol (1616–1680): Rembrandt’s Pupil (Doornspijk, 1982), 29–39,
56–59.
4. Bol made a drawn copy of Rembrandt’s Self-Portrait when he was an assistant in themaster’s studio (red and black chalk, gray wash, 17.8 x 12.8 cm, Rosenwald Collection,
National Gallery of Art, Washington D.C.). The drawing carefully reproduces Rembrandt’s
image, even its rounded composition. Bol produced at least six similar images in this period.
For Bol’s series of self-portraits and tronies, which are discussed further below, see Albert
Blankert, Ferdinand Bol (1616–1680): Rembrandt’s Pupil (Doornspijk, 1982), nos. 60–65.
While FB-107 relates directly to Rembrandt’s 1640 painting, it also broadly reflects Bol’s
familiarity with the master’s Self-Portrait, Leaning on a Stone Wall , 1639, etching anddrypoint, 20.5 x 16.4 cm. Both painting and etching provided the portrait type that Bol and anumber of Rembrandt pupils followed in the 1640s. See, for example, GF-103, and Govert
Flinck, Self-Portrait Aged 24, 1639, oil on panel, 65.8 x 54.4 cm, National Gallery, London.
5. Notably, Bol did not follow Rembrandt’s arched composition in FB-107.
6. Despite the contemporary element of his dress, Bol’s costume in FB-107 would have been
described as antyk, indicating its historicizing character. For example, Bol wears a jerkin,
identifiable by its horizontal neckline, over a white doublet, which went out of style by the mid© 2017 The Leiden CollectionSelf-Portrait, Behind a Parapet
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sixteenth century. The elegant black beret, or bonnet, was also characteristic of sixteenthcentury fashion. For this style, Rembrandt was influenced by sixteenth-century prints,
including Lucas van Leyden’s Portrait of a Young Man with a Skull , ca. 1519, engraving,
18.4 x 14.4 cm, National Gallery of Art, Washington, and Hieronymous Cock’s portrait ofLucas van Leyden, 1572, engraving, Rijksprentenkabinet, Rijksmuseum, Amsterdam. Bol,
who may have been familiar with these prints as well, could have also looked to a number ofRembrandt’s historicizing self-portrait prints, such as Self-Portrait with Saskia, 1636,
etching, 10.4 x 9.5 cm, Rijksprentenkabinet, Rijksmuseum, Amsterdam, or Self-Portrait in
Sixteenth-Century Apparel, 1638, etching, 13.4 x 10.3 cm, Rijksprentenkabinet,
Rijksmuseum, Amsterdam. For a discussion of costume in Rembrandt’s self-portraits, andits interpretations and comparisons to Bol’s dress, see Ariane van Suchtelen, “Pupils ofRembrandt,” in Rembrandt by Himself, ed. Christopher White and Quentin Buvelot (Exh. cat.
The Hague, Mauritshuis; London, National Gallery of Art) (Zwolle, 1999), 234–35; Marieke
de Winkel, “Costume in Rembrandt’s Self Portraits,” in Rembrandt by Himself, ed.
Christopher White and Quentin Buvelot (Exh. cat. The Hague, Mauritshuis; London, National
Gallery of Art) (Zwolle, 1999), 67–74; Marieke de Winkel, Fashion and Fancy: Dress andMeaning in Rembrandt’s Paintings (Amsterdam, 2006), 163–89.
7. See H. Perry Chapman, Rembrandt’s Self-Portraits: A Study in Seventeenth-Century
Identity (Princeton, 1990), 69, 71–72, 74–76, 81, 87–88, 91, 120, 130–31; Christopher
White and Quentin Buvelot, eds., Rembrandt by Himself (Exh. cat. The Hague, Mauritshuis;
London, National Gallery of Art) (Zwolle, 1999), no. 54.
8. Raphael, Portrait of Baldassare Castiglione, before 1516, oil on canvas, 82 x 67 cm, Muséedu Louvre, Paris; Titian, Portrait of a Man, ca. 1512, oil on canvas, 81.2 x 66.3 cm, National
Gallery, London. For Rembrandt’s engagement with these paintings, see Eddy de Jongh,“The Spur of Wit: Rembrandt’s Response to an Italian Challenge,” Delta 12 (1969): 49–67;
H. Perry Chapman, Rembrandt’s Self-Portraits: A Study in Seventeenth-Century Identity(Princeton, 1990), 69–78.
9. The derivative nature of Bol’s self-portraits is emphasized repeatedly in the scholarship.
See, for example, Albert Blankert, Ferdinand Bol (1616–1680): Rembrandt’s Pupil(Doornspijk, 1982), 57–58; H. Perry Chapman, Rembrandt’s Self-Portraits: A Study inSeventeenth-Century Identity (Princeton, 1990), 80–81.
10. Bol’s gold chains, which form part of his historicizing costume, project a sense of nobility.
Although they were probably intended to emphasize the fanciful nature of this portrait, theydo, nonetheless, suggest an association with images of courtly artists, such as Titian andAnthony van Dyck, who portrayed themselves wearing the gold chains that had been given
to them by their respective sovereigns. See Titian, Self-Portrait, ca. 1562, oil on canvas, 86 x
65 cm, Museo Nacional del Prado, Madrid, and Anthony van Dyck, Self-Portrait with
Sunflower, ca. 1635–36, oil on canvas, 60.3 x 73 cm, private collection.
© 2017 The Leiden CollectionSelf-Portrait, Behind a Parapet
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11. Rembrandt portrayed himself wearing a gold chain on numerous occasions; see, forexample, fig. 2; Self-Portrait with Beret and Gold Chain , ca. 1630–31, oil on panel, 69.7 x 57
cm, Walker Art Gallery, Liverpool; Self-Portrait, 1633, oil on panel, 61 x 48.1 cm (oval),Musée du Louvre, Paris. See Christopher White and Quentin Buvelot, eds.,Rembrandt byHimself (Exh. cat. The Hague, Mauritshuis; London, National Gallery of Art) (Zwolle, 1999),
nos. 10, 26, 35. In another departure from Rembrandt, who depicted his signature on thewooden balustrade in the London painting, Bol cleverly portrayed his signature on the paper
between his hands.
12. For this portrait, see, for example, Arthur K. Wheelock Jr., “Rembrandt Inventing Himself,” inRembrandt Creates Rembrandt: Art and Ambition in Leiden, 1629–1631 , ed. Alan Chong(Exh. cat. Boston, Isabella Stewart Gardner Museum) (Zwolle, 2001), 13–24.
13. Aside from the paintings in Dordrecht and Springfield discussed below, Bol executed two
self-portraits that closely followed Rembrandt’s 1639 etching in reverse. Ferdinand Bol,SelfPortrait, 1647, oil on canvas, 101 x 88 cm, Toledo Museum of Art; Ferdinand Bol,SelfPortrait, 1647, oil on canvas, 93 x 83.5 cm, present whereabouts unknown. A work presently
in the Thyssen-Bornemisza Museum in Madrid (Ferdinand Bol, Self-Portrait, ca. 1647, oil oncanvas, 88.6 x 77 cm) has been called a self-portrait or portrait of a young man. See Albert
Blankert, Ferdinand Bol (1616–1680): Rembrandt’s Pupil (Doornspijk, 1982), 118–22; nos.
61–62, 65; Werner Sumowksi, Gemälde der Rembrandt-Schüler in vier Bänden , 6 vols.
(Landau, 1983), 1:305, no. 136.
14. Albert Blankert, Ferdinand Bol (1616–1680): Rembrandt’s Pupil (Doornspijk, 1982), 58, 64,
66, 118, no. 60; Werner Sumowksi, Gemälde der Rembrandt-Schüler in vier Bänden , 6
vols. (Landau, 1983), 1:305, no. 135; Albert Blankert, ed., Rembrandt: A Genius and His
Impact (Exh. cat. Melbourne, National Gallery of Victoria; Canberra, National Gallery ofAustralia) (Zwolle, 1997–98), 248–49, no. 45; Ariane van Suchtelen, “Pupils of Rembrandt,”
in Rembrandt by Himself, ed. Christopher White and Quentin Buvelot (Exh. cat. The Hague,
Mauritshuis; London, National Gallery of Art) (Zwolle, 1999), 234–36, no. 87.
15. Ferdinand Bol, Self-Portrait, ca. 1647, oil on canvas, 97.4 x 77.8 cm, Springfield Museum ofFine Arts, Massachusetts. Albert Blankert, Ferdinand Bol (1616–1680): Rembrandt’s Pupil(Doornspijk, 1982), 119–20, no. 64; Werner Sumowksi, Gemälde der Rembrandt-Schüler invier Bänden, 6 vols. (Landau, 1983), 1:306, no. 138; Albert Blankert, ed., Rembrandt: A
Genius and His Impact (Exh. cat. Melbourne, National Gallery of Victoria; Canberra,
National Gallery of Australia) (Zwolle, 1997–98), 250–51, no. 46; Alice I. Davies,16th– and17th-Century Dutch and Flemish Paintings in the Springfield Museum of Fine
Arts (Springfield, 1993), 26–29, no. 2. Several copies exist of this work; see Albert Blankert,
Ferdinand Bol (1616–1680): Rembrandt’s Pupil (Doornspijk, 1982), 120, nos. 64a, 64b,
64c.
16. The number of self-portraits that Bol produced in the 1640s has long been a subject of© 2017 The Leiden CollectionSelf-Portrait, Behind a Parapet
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debate in the scholarship, sparked by the question of the identity of the sitters. Abraham
Bredius and Cornelis Hofstede de Groot first debated the issue at the beginning of thetwentieth century, joined soon thereafter by J. H. J. Mellaart. Given the close associations
that exist between many of Bol’s portraits and tronies—character studies of anonymous
individuals often portrayed in fanciful costume like the artist in FB-107—scholars havequestioned whether Bol’s images actually represent him. Dagmar Hirschfelder addresses
the close relationship and, consequently, the distinctions between tronie and portrait in her
comprehensive study, Tronie und Porträt in der niederländischen Malerei des 17.
Jahrhunderts (Berlin, 2008). For her discussion of Bol’s tronies specifically, see 136–37,
277–82. For the issue of Bol’s self-portraits, as well as further literature, see Albert Blankert,
Ferdinand Bol (1616–1680): Rembrandt’s Pupil (Doornspijk, 1982), 57–59; Albert Blankert,ed., Rembrandt: A Genius and His Impact (Exh. cat. Melbourne, National Gallery of Victoria;
Canberra, National Gallery of Australia) (Zwolle, 1997–98), 248–50, nos. 45–46.
17. For Bol’s late self-portraits from the 1650s and 1660s, see Self-Portrait with Palette, 1653,
oil on canvas, 105 x 82.5 cm (rounded at top), private collection, London; Self-Portrait, ca.
1669, oil on canvas, 128 x 104 cm, Rijksmuseum, Amsterdam. Albert Blankert,Ferdinand
Bol (1616–1680): Rembrandt’s Pupil (Doornspijk, 1982), nos. 66 and 103.

Provenance[Sulley & Co., London; Knoedler & Co., New York, by July 1921; Howard Young Galleries,
New York, by November 1923; John Levy Galleries, New York; Knoedler & Co., New York,by March, 1949].
William Bass, by April 1949; [Knoedler & Co., by June 1950].
Mr. and Mrs. Lauritz Melchior, Los Angeles, by June 1950.
Gift of Mr. and Mrs. Lauritz Melchior to the Los Angeles County Museum of Art, 1955; (sale,
Sotheby’s, New York, 28 January 2010, no. 162 [Jack Kilgore & Co., Inc., New York]).
From whom acquired by the present owner in 2010.

Exhibition History
San Antonio, Witte Memorial Museum, “Loan Exhibition of Paintings of the Sixteenth to the
Nineteenth Century from M. Knoedler & Co.,” 26 October–7 November 1949, no. 2 [lent byKnoedler & Co.].
© 2017 The Leiden CollectionSelf-Portrait, Behind a Parapet
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Dallas, Dallas Museum of Fine Arts, “Four Centuries of European Painting: An Exhibition of
Sixty British and European Paintings from the Fifteenth to the Nineteenth Centuries,” 6–31
October 1951, no. 28 [lent by Mr. and Mrs. Lauritz Melchior].
Raleigh, North Carolina Museum of Art, “Rembrandt and His Pupils,” 16 November–30
December 1956, no. 2 [lent by the Los Angeles County Museum of Art].
La Jolla, La Jolla Museum of Art, “Dutch and Flemish Paintings of the Northern
Renaissance,” 13 June–20 September 1964, no. 2 [lent by the Los Angeles County Museumof Art].
Brooklyn, Brooklyn Museum, on loan with the permanent collection, March 2013–March
2016 [lent by the present owner].

References
Mellaart, J. H. J. “Self-Portraits by Bol.” Burlington Magazine 43 (October 1923): 153–54,
plate IIC.
Meldrum, D. S. Rembrandt’s Paintings. London, 1923, 86.
Isarlov, G. “Rembrandt et son entourage.” La Renaissance (July–September 1936): 34.
Loan Exhibition of Paintings of the Sixteenth to the Nineteenth Century from M. Knoedler &Co. Exh. cat. San Antonio, Witte Memorial Museum. San Antonio, 1949, no. 2.
Four Centuries of European Painting: An Exhibition of Sixty British and European Paintingsfrom the Fifteenth to the Nineteenth Centuries . Exh. cat. Dallas, Dallas Museum of Fine Arts.
Dallas, 1951, no. 28.
Dobrzycka, A. “Autoportrety Ferdinanda Bola.” Biuletyn Historii Sztuki 18 (1956): 427.
Valentiner, W. R. Rembrandt and His Pupils. Exh. cat. Raleigh, North Carolina Museum ofArt. Raleigh, 1956, no. 2.
Brown, R. F. “Recent Gifts of Painting.” Los Angeles County Museum Bulletin of the Art
Division 8, no. 4 (1957): 6, fig. 1.
Van Hall, H. Portretten van Nederlandse beeldende kunstenaars . Amsterdam, 1963, 30, no.
8.
Dutch and Flemish Paintings of the Northern Renaissance . Exh. cat. La Jolla, La Jolla
Museum of Art. La Jolla, 1964, no. 2.
Richardson, H. “Bol’s ‘David’s Dying Charge to Solomon’ in the National Gallery of Ireland.”Studies 67, no. 267 (Autumn 1973): 228–29, fig. 9.
Blankert, Albert. Ferdinand Bol (1616–1680), Rembrandt’s Pupil. Doornspijk, 1982, 67,
119, no. 63.
© 2017 The Leiden CollectionSelf-Portrait, Behind a Parapet
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Sumowski, Werner. Gemälde der Rembrandt-Schüler in vier Bänden. 6 vols. Landau, 1983,
1:305, under no. 135; 5:3082, under no. 2009.
Sutton, Peter C. A Guide to Dutch Art in America. Grand Rapids, 1986, 132, 332.
Schaefer, Scott, et al. European Painting and Sculpture in the Los Angeles County Museumof Art. Los Angeles, 1987, 19.
Chapman, H. Perry. Rembrandt’s Self-Portraits. Princeton, 1990, 81, 157 n. 8, fig. 111.
Kok, Erna. “De succesvolle loopbanen van de zeventiende-eeuwse kunstenaars Govert
Flinck en Ferdinand Bol.” De Zeventiende Eeuw 27, no. 2 (2011): fig. 9.

Versions
Versions and Copies
1. After Ferdinand Bol, Self-Portrait behind a Parapet, oil on panel (oval), 83 x 66 cm, Albert
Blankert, Ferdinand Bol (1616–1680), Rembrandt’s Pupil (Doornspijk, 1982), no. 63a,present whereabouts unknown.

Versions Notes

Technical Summary
The support, a single piece of medium-weight, plain-weave fabric with tacking margins removed,
has been lined. There is pronounced cusping along the lower edge, slight cusping along the left
and right edges and none along the upper edge. The frame has an embossed “M Grieve andCo.” maker’s mark, and the stretcher and frame have Los Angeles County Museum of Art labels,
but there are no wax collection seals, import stamps, stencils or inscriptions along the lining or
stretcher reverse.
Although the support is stretched in a rectangular format, subtle diagonally oriented creases
along the paint surface of the upper left[1] and right[2] corners and triangles of dark paint along
both upper corners, which were toned to match the green background during conservation
treatment, suggest a change in format along the upper edge. The support may originally havebeen slightly taller, which would have allowed more room above the plume of the figure’s hat,and the composition may originally have been painted with a shallow arch or framed with a© 2017 The Leiden CollectionPowered by TCPDF (www.tcpdf.org)

Self-Portrait, Behind a Parapet
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shaped liner.[3]A light-colored ground has been thinly and evenly applied.[4] The paint has beensmoothly applied with areas of low impasto along the details of the figure’s hat, the gold chainsand medallion hanging from the figure’s neck, the pillow along the parapet, and the upturned
corner of the paper that the figure holds.
No underdrawing or compositional changes are readily apparent in infrared images captured at
780–1000 nanometers.
The painting is signed and dated in dark paint on a sheet of paper, which the figure holds along
the lower right corner of the composition. The signature and date are oriented upside down
facing the figure, not the viewer.
The painting was cleaned and restored in 2010 and remains in a good state of preservation.

Technical Summary Endnotes

1. Forms a triangle: 8.5 cm wide x 16 cm long as measured from upper left corner.

2. Forms a triangle: 6 cm wide x 10 cm long as measured from upper right corner.
3. Two Bol self-portraits executed on rectangular supports form shallow arches across thewidths of the upper edges and are taller than FB-107: Portrait of the Artist owned by Baron
Bruno Schroeder, The Dell, Englefield Green, Surrey, England, and Self-Portrait, Athenium
Helsinki, Finland.
4. There is no X-radiograph of this painting that would indicate whether the ground is radioopaque.

© 2017 The Leiden Collection