After learning the fundamentals of drawing and painting in his native Leiden, Rembrandt van Rijn went to Amsterdam in 1624 to study for six months with Pieter Lastman (1583–1633), a famous history painter. Upon completion
of his training Rembrandt returned to Leiden. Around 1632 he moved to Amsterdam, quickly establishing himself as the town’s leading artist. He received many commissions for portraits and attracted a number of students
who came to learn his method of painting.
A Polish Nobleman is probably not a portrait of a specific individual; instead it represents a more generic exotic type that Rembrandt favored during the 1630s. The beaver hat, dark fur cloak, and massive gold chain
and medallion have suggested to many that the sitter was Slavic, but the painting's title has no factual basis. Such exotic paintings allowed Rembrandt to expand the limits of portraiture because he was not constrained
by traditional conventions. Through dramatic accents of light and dark on the sitter's face, bold brushwork, and dense application of paint, Rembrandt created a powerful, almost sculptural presence. By emphasizing
the man’s furrowed brow and by shading his eyes, Rembrandt has portrayed him as a thoughtful individual. The penetrating expression of A Polish Nobleman and the striking resemblance of the sitter’s features to Rembrandt’s,
particularly in the area around the eyes and nose, make one wonder if this painting is not, in fact, a fanciful and liberally embellished self-portrait.
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