Who painted Sheet of Studies: Self-Portrait, a Beggar Couple, etc.?

Sheet of Studies: Self-Portrait, a Beggar Couple, etc. was painted by Rembrandt van Rijn in 1632.

Where can I see Sheet of Studies: Self-Portrait, a Beggar Couple, etc.?

Sheet of Studies: Self-Portrait, a Beggar Couple, etc. is held by Cleveland Museum of Art.

What movement is Sheet of Studies: Self-Portrait, a Beggar Couple, etc.?

Sheet of Studies: Self-Portrait, a Beggar Couple, etc. is associated with Baroque.

Artwork

Sheet of Studies: Self-Portrait, a Beggar Couple, etc.

Rembrandt van Rijn , 1632

Sheet of Studies: Self-Portrait, a Beggar Couple, etc. is a print by the Baroque artist Rembrandt van Rijn. It dates from 1632 and is held in the collection of the Cleveland Museum of Art.

Accession no.: 1980.181
Credit line: Edwin R. and Harriet Pelton Perkins Memorial Fund

About this work

Overview

Created around 1632, this sheet of studies by Rembrandt van Rijn comprises several quick sketches, including a self‑portrait and a depiction of a beggar couple. Executed as a single sheet of paper, the work is part of the collection of the Cleveland Museum of Art and exemplifies the artist’s exploratory drawing practice during his early Amsterdam period.

Subject & Meaning

The self‑portrait shows the artist’s head turned slightly away, hair unkempt and jaw in shadow, suggesting a candid, unidealised self‑observation. Adjacent to it, a sketch of a hunched, intertwined beggar couple conveys a sense of poverty and intimacy, reflecting Rembrandt’s interest in everyday figures and the human condition.

Technique & Style

Rembrandt employed rapid, gestural strokes, layering darker lines over lighter ones to define form. The uneven, sketchy lines and the use of chiaroscuro create a stark contrast between light and shadow, a method typical of his preparatory studies where speed and tonal modeling were prioritized over finished detail.

History & Provenance

The sheet has remained in private hands before being acquired by the Cleveland Museum of Art, where it is displayed as part of the museum’s European prints and drawings collection. Its dating to the early 1630s places it among Rembrandt’s formative works, offering insight into his developing technique.