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Updated: May 21, 2025
To Rembrandt's early years also are ascribed certain careful studies of old men's heads and several portraits of younger men. Among these are one of the writing-master Coppenol and one of the poet Krul, the former painted in 1632, the latter in 1633.
Voll in ranking the splendid portrait of an unknown man, of some five or six years later date, far above the Krul portrait in artistic quality. Although excessively warm in tone it has in addition to excellent construction and a lifelike aspect a nobility of bearing that imposes itself directly and irresistibly upon the spectator. The portrait of Coppenol is not easily analyzed and Dr.
Simpler and homelier in appearance than the portrait of Krul, this solid and even heavy figure seated comfortably in an armchair, the well-drawn hands busy with mending a quill pen, the glance reflective, but hardly thoughtful, the mouth under the small fair moustache slightly indeterminate, the head covered with short hair, the smooth fat face three-quarters in light, presents at first glance a commonplace aspect enough.
But returning to it from the Krul or even from the more masterly later portrait, the spectator is certain to be deeply impressed by the quiet yet searching execution that takes account of every significant change in plane or outline in the large cheek and full chin.
The Krul portrait is the more striking of the two, and the pictorial costume with the broad hat casting its lucent shadow over the fine brow, the silken jacket with its gleaming reflections and the wide white ruffles at neck and sleeve on which the light blazes full, adds to the dignity and richness of the effect. It is easy, however, to agree with Dr.
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