Abstract
The unusually rough execution of this painting has led some to question its authenticity. Tümpel, for example, listed it in his survey of Rembrandt’s painted oeuvre as a studio work.1 In this entry anexplanation will be proposed for its unusual execution and arguments will be presented in favour of its authenticity.
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Notes
Tümpel 1986, cat. no. A 72.
A.K. Wheelockjr., Dutch paintings of the seventeenth century. National Gallery of Art, Washington 1995, pp. 261–265.
Bauch 1966, 330.
Gerson 376; Br.-Gerson 51.
A. Houbraken, Groote schouburgh der Nederlantsche konstschilders en schilderessen I, Amsterdam 1718, 2nd ed. (1753), p. 259: ‘dat een stuk voldaan is als de meester zyn voornemen daarin bereikt heeft.’
J. Boydell, Sculptura brittanica: a collection of prints, engraved after the most capital paintings in England, London 1769, vol. II, no. 16. Subsequently published in: Mr Boydell’s Exhibition of Drawings… 1770, nos. 83 and 179: ‘Rembrandt. Portrait of Rembrandt. In the Coll. of the Duke of Montagu. Drawn and engraved by Mr. Earlom.’
H. de Vries, ‘Van lachende man tot Democritus’, Kroniek van het Rembrandthuis 95/2, pp. 24–39.
J. Smith, A catalogue raisonné of the works of the most eminent Dutch, Flemish and French painters, VII, London 1836, no. 215.
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© 2005 Stichting Foundation Rembrandt Research Project
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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_23
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