Abstract
Since 1957, when Winkler suggested that it was a completely overpainted original, confusion has marked the interpretations of this painting’s material history and consequently its art historical position.1 This entry forwards arguments countering the opinion expressed in the 1982 catalogue of the British Royal Collection, namely that the painting is a late 18th-century imitation.2 In fact, there is much to be said for its being an authentic, though severely overpainted self-portrait painted over an earlier, unfinished self-portrait by Rembrandt.
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Notes
F. Winkler, ‘Echt, falsch, verfälscht’, Kunstchronik 10 (1957), pp. 141–147, esp. 143.
C. White, The Dutch pictures in the collection of her Majesty the Queen, Cambridge-London, etc. 1982, cat. no. 168, pp. 111–112.
K. Groen, ‘The examination of the portrait of Rembrandt in a flat cap’, The Hamilton Kerr Institute Bulletin 1 (1988), pp. 66–68.
The following section of the entry was previously published with only minor changes by E. van de Wetering and P. Broekhoff in: Burl. Mag. 138 (1996), pp. 174–180.
Tümpel 1986, cat. no. A69.
F. Baldinucci, Vocabolario toscano deW arte del disegno, Florence 1681, s.v. rifiorire. The English translation is cited from E. H. Gombrich, ‘Dark varnishes: Variations on a theme from Pliny’, Burl. Mag. 104 (1962), pp. 51–55, esp. 53.
For an overview of the types of features they have found to be characteristic for Rembrandt signatures, see W. Froentjes, H.J.J. Hardy and R. ter Kuile-Haller, ‘Een schriftkundig onderzoek van Rembrandt Signaturen’, O.H. 105 (1991), pp. 185–204.
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© 2005 Stichting Foundation Rembrandt Research Project
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(2005). Self-portrait in a flat cap. In: A Corpus of Rembrandt Paintings. Rembrandt Research Project Foundation, vol 4. Springer, Dordrecht. https://doi.org/10.1007/978-1-4020-4441-0_6
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