Rembrandt's self-portrait

Rosacea: The eyes have it

Rosacea is a chronic inflammatory dermatosis typically affecting the facial skin but also the eyes. With its chronic course with fluctuating episodes of flashing, redness, papulopustules, and nodules it poses a severe psychologic burden to the affected individuals. In addition to the facial changes, more than half of the patients have ocular involvement ranging from blepharitis and conjunctival hyperemia to more severe ophthalmic damage, and even blindness. Clinically, the ocular involvement in rosacea includes meibomian gland dysfunction with relapsing hordeola and chalazia, diffuse hyperemic conjunctivitis, photophobia, episcleritis, or kerato-conjunctivitis, and in rare cases, corneal ulcers. These are mainly observed in adult patients but can also occur in children. Depending on the degree of cutaneous or ocular findings, patients with rosacea may present first to the dermatologist or to the ophthalmologist. Both specialists should be aware of the potential oculocutaneous involvement. Any ocular complaints expressed by the patient in the setting of a dermatologist's office should be referred promptly for an ophthalmologic examination. Conversely, signs suggestive of rosacea in the eye should lead the ophthalmologist to consider underlying skin disease. A timely interdisciplinary collaboration is paramount for the earlier diagnosis and treatment, thus preventing permanent eye impairment in this chronic dermatosis.

Rembrandt's Ocular Pathologies

PURPOSE

This article aims to medically and artistically analyze various ophthalmological ailments documented in self-portraits of Rembrandt to determine if those ailments were medical conditions or stylistic and age-related changes.

METHODS

A systematic literature review using Pub Med and Google Scholar found 232 results from a search of "Rembrandt" and more than 5,000 results for "Rembrandt Aging." After extensive review of the literature, the authors found 17 relevant sources. These sources were then supplemented with historical books on Rembrandt and the aging processes of artists. Analytical observations with proportional measurements of anthropometrical landmarks (from self-portraits of Rembrandt at various ages) were studied, measured, analyzed, and compared using a standardized technique via MB ruler graphic software to assess age- or medically related changes.

RESULTS

The ophthalmological problems cited in the literature related to Rembrandt's periorbital structures were found by the authors to be false. Signs of inappropriate aging and ailments, such as hyperthyroidism were deemed inaccurate by the authors based on absence of classical disease progression. Ophthalmological problems cited in the literature on Rembrandt's visual acuity were found to be stylistic changes or considered normal aging. Finally, the authors found that ophthalmological problems relating to Rembrandt's eye and orbital adnexa are unfitting because these problems were not seen in subsequent paintings.

CONCLUSIONS

The authors believe that all the physical changes seen in Rembrandt's portraits represent natural age-related or stylistic changes, and do not represent signs or symptoms of diseases in the master.

Rembrandt's late self-portraits: psychological and medical aspects

The Dutch painter Rembrandt (1606-1669) left behind the largest series of self-portraits in the history of art. These paintings were produced over a period of time from age 22 years until just a few months before Rembrandt's death at age 63. This series gives us a unique opportunity to explore the development, maturity, and aging of the artist. The changes in Rembrandt's face and expression from one self-portrait to the next may be attributable to any combination of the following factors: normal aging changes, modifications and developments of his artistic style, alterations in the way he viewed himself, and changes in the way Rembrandt wanted us to see him. In addition, the modifications may be attributed in part to some illnesses from which the artist may have suffered and/or to a decline in his eyesight that may have influenced both his ability to detect details and his ability to paint.