This essay explores the Dutch Golden Age painter Rembrandt Harmenszoon van Rijn’s self-portraits from both an art historical and philosophical perspective. In this essay, Andrew Millar argues that rigorous art historical analysis that situates Rembrandt’s self-portraiture within a blossoming, observable art historical tradition intersected with market demands and historically accurate trends in art does not exclude their philosophical, psychological analysis as some art historians claim. Rather, Millar draws from phenomenological art historical methods to argue that Rembrandt’s portraits function as an exploration and disclosure of the acts of seeing and self-recognition.