Problems of apprenticeship and studio collaboration

Abstract

Since Bredius published his critical catalogue in 1935, almost every fresh definition of Rembrandt’s painted oeuvre has brought a further reduction in the number of paintings attributed to him. This has meant a corresponding increase in the number of works that while displaying Rembrandtesque features must be assumed to have been done by other hands. The number of later imitations or forgeries included among this category (which has grown again through our research) is in all probability only small. Technically and materially such paintings mostly do not differ significantly from what one finds in works accepted as authentic Rembrandt’s¹. Assuming that the rejections (about many of which there has in fact been general agreement for quite some time) are warranted, one is led to conclude that these paintings were as a rule produced in Rembrandt’s circle.

While prepairing this chapter I received valuable advice and assistance from various people to all of whom I want to express my gratitude. I am especially indebted to Greet van Brigitte Blauwhofff, who worked temporarily at the Central Research Laboratory, Amsterdam, 20 B.V. Leverland and S.A.C. Dudok van Heel of the Leiden and Amsterdam Municipal Archives respectively, and to Jacques Vis., who unearthed much useful information, I have thank Karin van Nes, of the Central Research Laboratory, Amsterdam, for the care she spent on my text.