The popularity of the young Rembrandt is growing rapidly, and already in the early 30s, fellow citizens begin to order his portraits to him. Among the first was written “Portrait of a scientist.” In front of the audience, the Dutch intellectual of that generation, which is still rooted in the people.
A simple, open, somewhat coarse face, hard, fleshy hands betray his plebeian origin. In an effort to get as close as possible to life, Rembrandt shows a person not in isolation, but in his everyday life. Therefore, the scientist is depicted at his desk, with a pen in his hand, at the time of working on the manuscript, when he is caught by the viewer as if entering the room. The portrayed person breaks away from the manuscript, turns his face to the newcomer, addresses him with some words. This work is one of the first attempts by Rembrandt to introduce plot action into the portrait.
A bold experiment is still not fully successful young artist. The look of the picture shows a state of calm reflection and is clearly not in harmony with its external vivacity. Thanks to this, his mimicry and gesticulation are deliberate: turning the head, moving the lips, a gesture of the right hand that finished writing but still holds the pen.
Despite these shortcomings, the very principle of portrait decision, chosen by Rembrandt, concealed rich realistic possibilities, allowing the artist to vividly characterize a person, to show him as he is in ordinary life.
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