Self-portrait

Madrid, Museo Thyssen-Bornemisza, ACC. NO. 1976.90
Chapter
Part of the Rembrandt Research Project Foundation book series (RRSE, volume 4)

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.

Keywords

Europe Shrinkage Lost Rounded Chalk 

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Notes

  1. 2.
    I. Gaskell, The Thyssen-Bornemisza Collection. Seventeenth-century Dutch and Flemish painting, London 1990, pp. 134–139.Google Scholar
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  3. 5.
    Schwartz 1984.Google Scholar
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    Tümpel 1986.Google Scholar
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    C. Wright, Rembrandt: Self-Portraits, London 1982, p. 42.Google Scholar
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    Exhib. cat. Rembrandt tentoonstelling, Amsterdam 1935, fig. 11.Google Scholar
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    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.Google Scholar
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Copyright information

© Stichting Foundation Rembrandt Research Project 2005

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