Abstract
Ever since Gerson questioned this painting’s authenticity in 1968 it has been omitted from surveys of Rembrandt’s oeuvre.1 In the 1990 catalogue of the Thyssen-Borne-misza collection it is listed as a work from Rembrandt’s studio.2 Account should, however, be taken of the painting’s extremely poor condition. Moreover, the panel was most likely reduced with the ensuing consequences for the composition. Our evaluation of the work’s genesis, its technical, stylistic and qualitative characteristics as well as observations with respect to Rembrandt’s facial features lead to the conviction that there are more arguments in favour of its autograph nature than against it.
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Notes
I. Gaskell, The Thyssen-Bornemisza Collection. Seventeenth-century Dutch and Flemish painting, London 1990, pp. 134–139.
Gaskell, op. cit.2, p. 138.
Schwartz 1984.
Tümpel 1986.
C. Wright, Rembrandt: Self-Portraits, London 1982, p. 42.
J. Bruyn, ‘Een onderzoek naar 17dc-eeuwse schilderijformaten, voornamelijk n Noord-Nederland’, O.H. 93 (1979), pp. 96–115.
G.K. Nagler, Neues allgemeines Künstler-Lexikon, 3rd ed., vol. 11, Leipzig 1835–52, pp. 179–180.
D. Lampsonius and H. Cock, Pictorum aliquot celebrium Germaniae inferioris effigies, Antwerp 1572, nos. 4 and 5.
Exhib. cat. Rembrandt tentoonstelling, Amsterdam 1935, fig. 11.
E. van de Wetering, CM. Groen and J.A. Mosk, ‘Summary report on the results of the technical examination of Rembrandt’s Night watch’, Bulletin van het Rijksmuseum 24 (1976), pp. 68–98, esp. 91–93.
R.H. Marijnissen, Dégradation, conservation et restauration de l’oeuvre d’art, Brussels 1967, Vol. I, pp. 67–72.
W.R. Valentiner, Rembrandt paintings in America, New York 1931.
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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_7
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