Abstract
This painting has generally been rejected since 1953, when Slive suggested that it is a copy.1 Despite the obviously weak quality of the painting and its stylistic idiosyncrasies, we initially left open the possibility that it might be by Rembrandt himself, for the genesis of the painting speaks against it being a copy, and there is no reason to doubt that it was produced in Rembrandt’s studio. Now that we are certain that others than Rembrandt himself produced Rembrandt ‘self-portraits’ in his studio, the weight of stylistic and qualitative differences from known autograph works leads us to believe that the painting is another of these studio products, in this case probably a free variant on the Kassel Self-portrait from 1654 (IV 9).
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Notes
S. Slive, Rembrandt and his critics 1630–1730, The Hague 1953, p. 65 note 1.
For other examples, see: K. Nicolaus, Het schilderij: materiaal, techniek-behoud, De Bilt 1981, pp. 37–38, fig. 45.
Bauch 328.
Br.-Gerson 45.
M. Chiarini, I dipinti olandesi del Seicento e del Settecento (Gallerie e Musei Statali di Firenze). Cataloghi dei Musei e Gallerie d’ltalia, Rome 1989, no. 69.236, pp. 488–490.
Tümpel 1986.
B. Meijer, Rembrandt nel Seicento toscano, Florence 1983, p. 16.
K. Langedijk, Die Selbstbildnisse der holländischen und flämischen Künstler in der Galleria degli Autoritratti der Uffizien in Florenz, Florence 1992, pp. 144–152.
M. Strocchi, ‘Il Gabinetto d’opere in piccolo del Gran Principe Ferdinando a Poggio a Cajano’, Paragone (Arte) 26, no. 309 (1975), pp. 115–128, esp. 116.
Langedijk, op. cit. 8, pp. 42–43 and 161; Th. Levin, ‘Beiträge zur Geschichte der Kunstbestrebungen in dem Hause Pfalz-Neuburg’, Beiträge zur Geschichte des Miederrheins 20 (1905), pp. 123–249, esp. 179.
Sumowski Gemälde I, no. 322; Strocchi, op. cit.10, fig. 65; and M. Strocchi, ‘Il Gabinetto d’Opere in Piccolo del Gran Principe Ferdinando a Poggio a Cajano’, Paragone (Arte) 27, no. 311 (1976), pp. 86–87, nos. 12 and 16.
F. Baldinucci, Vocabulario Toscano dell’Arte del Disegno, Florence 1681, p. 48: ‘Di colpi. Termine proprio di pittura: e dicesi, fatta di colpi quella pittura, laquale l’artefice condusse, col posare con gran franchezza le tinte al luogo loro, o chiari, o scuri, o mezze tinte, o dintorni che si fussero, dando ad essa pittura un gran rilievo, e facendo in essa apparire una gran bravura e padronanza del pennello e de’colori; tutto il contrario di quelle pitture, che diremmo sfumate o affaticate’. (‘Di colpi’. A term proper to painting: a picture is said to have been painted ‘di colpi’ when the artist has applied the colours in their place very forthrightly, be they light, dark or half tones, or outlines, so that the picture has great plasticity and demonstrates great dexterity and command of the brush and of colour, as opposed to pictures one would call graduated or belaboured.) The Italian quotes in this entry were translated by A. McCormick.
Strauss Doc., 1656/12 nos. 25, 27, 28, 120, 123, 295. One of the versions of the Self-portrait with sketchbook (IV 10, the one in San Francisco) was also painted over an earlier scene with still life like elements.
F. Zacchiroli, Description de la Galerie Royale de Florence, second part, Florence 1783, pp. 76–77.
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(2005). ’self-portrait’. In: A Corpus of Rembrandt Paintings. Rembrandt Research Project Foundation, vol 4. Springer, Dordrecht. https://doi.org/10.1007/978-1-4020-4441-0_17
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