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Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam)

Date: 1633
Accession Number: 14.40.625

The attribution to Rembrandt has occasionally been doubted, in part on the basis of the mistaken notion that this panel and the superb "Portrait of a Man" of 1632 (64.126) were painted as a pair. Most scholars maintain that this work is autograph, but a few experts consider it a workshop copy. The differences of opinion reflect a broader debate about whether or not Rembrandt made liberal use of apprentices to handle the great demand for portraits by him during the 1630s in Amsterdam.

This formal portrait, entirely or essentially by Rembrandt, probably dates from 1633. Technical analysis provides a strong argument for this attribution [see Ref. Bruyn et al. 1986], though the black costume and perhaps even the ruff and cap are possibly by a collaborator.

Bruyn et al. question the authenticity of the inscription, but note that, athough hesitant, it is so similar to genuine Rembrandt signatures that it may have been copied from a pendant, now lost. However, it is far from certain that Rembrandt did not sign and date the work himself. Comparison with similar Rembrandt portraits also suggests that it may have been painted without an intended companion. Rembrandt's Portrait of a Man (MMA 64.126) was once proposed as its pendant [see Ref. Valentiner 1931], but that work probably never had a mate [see Ref. Liedtke 2007].

A copy of the head and shoulders only was sold at Lawrence Fine Art of Crewkerne, October 30, 1986, no. 134, as by a pupil of Rembrandt. The catalogue for this sale [see Ref. Lawrence Fine Art of Crewkerne 1986] states that the original portrait by Rembrandt was previously at Althorp [published in "Catalogue of the Pictures at Althorp House," 1831, no. 300]. However, the location of the MMA picture before 1867 is unknown.

Located at the Metropolitan Museum of Art, New York City

In this issue of the magazine they cover the topic of "shit" and use these nice pictographs to help give a clean and authoritative look to the editorials of the magazine.

In this issue of the magazine they cover the topic of "shit" and use these nice pictographs to help give a clean and authoritative look to the cover and editorials of the magazine.

Here are seven disobedient objects, trophies, mementos, relics from a larger ongoing series of ceramic objects I've been making in the studio. This photo is from the exhbition of my and Gregory Green's work at Anna Kustera Gallery.