Jozef Israëls, Self-Portrait, 1905

by Atelier Liesjes

An old man sits slumped deep in a dark armchair. He has thick, white hair and a full white beard; his face is lit from the left, with a warm glow on his forehead and cheek, whilst his eyes lie in shadow. He is wearing a black jacket with a gold-coloured watch chain, which runs across his chest in a small, glistening line. Behind him is a framed painting, faint and blue-green, and to the right the edges of canvases and a chair back are visible. The light falls on his hair from the side, making the white locks appear almost like a crown around his head. The paint has been applied in broad, swift strokes, almost transparent in places, so that the canvas beneath remains visible. This late self-portrait is not a depiction of a celebrity, but an exploration of old age and light. Israëls painted himself at an age when his face had almost lost its shape: skin, hair and beard merge into one another and are held together by the light. His hands are not visible; only the head and shoulders matter. The colour scheme is dark, featuring brown, black and the occasional yellow accent; the brushstrokes are loose and confident. In this, one can sense the influence of Rembrandt, whose late portraits Israëls continued to admire throughout his life.
Jozef Israëls (Groningen 1824 – The Hague 1911) was one of the founders and the best-known representative of the Hague School. He painted fishermen, farmers and children in a dark, warm colour scheme and was also acclaimed abroad. With his dark, broad brushstrokes, he influenced an entire generation of painters. This self-portrait from 1905, six years before his death, shows the painter at the height of his powers. A poignant, tranquil work set against a classical interior.