Fotoreproductie van een schilderij door Rembrandt Harmensz. van Rijn van hemzelf en Saskia in de scene van de Verloren Zoon in de Taverne before 1864

Editor: Here we have a photograph, a gelatin silver print created before 1864 by Hanns Hanfstaengl. It reproduces Rembrandt's painting of himself with Saskia, depicted in a scene reminiscent of the Prodigal Son in the Tavern. It feels rather theatrical, wouldn't you say? What sort of imagery do you see reflected in this composition? Curator: Indeed, the theatricality strikes immediately. Beyond the surface realism, consider what Hanfstaengl chooses to capture – Rembrandt presenting himself with Saskia as revelers. Does it evoke biblical connotations, or perhaps something else entirely? This "prodigal son" reading, quite common at the time, attaches a layer of moral narrative to their relationship. Editor: I see what you mean. The way Rembrandt holds up the glass, almost boasting, clashes with any real sense of penitence from the parable. Was this depiction, then, perhaps more about projecting an image of success and… even excess? Curator: Precisely! Consider the symbolic weight of the wine glass – a symbol of celebration, yes, but also potential excess and folly. Think about Dutch Golden Age paintings: everyday life infused with moral undertones. Rembrandt knowingly manipulates these visual cues. Editor: So, it’s less a straightforward story, and more of a symbolic performance? Curator: Exactly. The photograph captures a moment of constructed identity – Rembrandt carefully curating how he, the artist, wishes to be seen and remembered, embedding familiar stories and aspirations into how his image is circulated, which the printing technologies available could make more widely available than a unique painting. Editor: It’s fascinating to consider the layers of performance at play, especially in relation to ideas about memory. Thanks, this has really opened my eyes! Curator: My pleasure! Reflecting on those layers allows us to think about representation and the enduring power of images.