Rembrandt began making paintings, drawings, and etchings of himself
in about 1628, thereby inaugurating a career as a self-portraitist which
is unique in the history of art. Where Rembrandt was original in using
his own features for the purpose. Andy Warhol’s now iconic Marilyn
diptych once raised questions of authorship and originality, this approach
became a feature of much work in the Pop idiom.
Pop artist Tom Wesselmamn was once quoted: “I refuse to draw the line
between flat paintings and 3-dimensional structures, I’m aware of the
differences between real and imitation but I don’t attach much
significance in the distinction". Lee Aguinaldo would totally agree,
Rembrandt may not be a Pop image unlike Monroe, but, probably the
work is a tribute to Lee Aguinaldo’s visits to the Metropolitan Museum
during his youth, Lee Aguinaldo appropriates 1 or 2 (or more) of over
40 self-portraits by Rembrandt painted when the Dutch artist was 54,
noteworthy for "the wrinkled brow and the worried expression the
troubled condition of his mind".
Various appropriations make a visual mantra of the lift of the eyebrows
that wrinkle Rembrandt’s forehead that reflects whimsical impatience,
and the spark in his eyes that denies defeat.
Through the years, Lee Aguinaldo has developed several styles
of painting: "Flick" painting, where he flicked paint from a palette knife
on canvas; "galumphing," which incorporated a few Pop or magazine
images and was largely influenced by Robert Motherwell; and "linear"