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


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.


Paint Layer Lead White Paint Surface Paint Sample Painting Technique 
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© Stichting Foundation Rembrandt Research Project 2005

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