Abstract
The authenticity of this painting was first questioned by Gerson in 1968, after which later authors no longer included it in their surveys of Rembrandt’s painted oeuvre.1 Subsequently Liedtke dated it to the beginning of the 18th century.2 We also take the view that it is not by Rembrandt’s hand and that it did not originate in his circle. We shall discuss below the reasons for this opinion and examine the relationship of the painting to the prototypes probably used by the presumed imitator.
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Notes
W. Liedtke, ‘Seventeenth-century Dutch and Flemish paintings’, in: Museum Cat. The Taft Museum. European and American paintings, New York 1995, pp. 157–159.
R.D. Buck, Report on Condition, unpublished document from the Intermuseum Laboratory, Oberlin, Ohio, dated 9 October 1963.
C. Hofstede de Groot, Die holländische Kritik der jetzigen Rembrandt-Forschung und neuest wiedergefundene Rembrandt-bilder, Stuttgart 1922, pp. 43–48. Hofstede de Groot had, however, included it in his 1915 book on Rembrandt (HdG 593b).
Liedtke, op. cit.2, p. 158.
M. Roscam Abbing, ‘De trompe-l’oeil-anekdote over Rembrandts dienstmeisje’, Kroniek van het Rembrandthuis 92/2, pp. 2–22. M. Roscam Abbing, Rembrant toont sijn konst. Bijdragen over Rembrandt-documenten uit de période 1648–1756, Leiden 1999, p. 101 ff.
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© 2005 Stichting Foundation Rembrandt Research Project
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(2005). Rembrandt leaning on a windowsill. In: A Corpus of Rembrandt Paintings. Rembrandt Research Project Foundation, vol 4. Springer, Dordrecht. https://doi.org/10.1007/978-1-4020-4441-0_12
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DOI: https://doi.org/10.1007/978-1-4020-4441-0_12
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