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Rembrandt

Bust of a youth, ca. 1660
Baltimore (Maryland), Baltimore Museum of Art, [..]
Bredius 1935, no. 124
<a class="recordlink artists" href="/explore/artists/66219" title="Rembrandt"><span class="text">Rembrandt</span></a>
Illustration number 0000369897
Dimensions: 900x1033 pixels
License undetermined
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Object information
Object category
painting
Support/medium
canvas, oil paint
Shape/dimensions
rectangle (portrait format) 81,3 x 68,7 cm
Only along the left edge cusping is clearly visible; there is a total absence of cusping on the top, bottom, and right side of the canvas. When looking at the spatial composition of the work, not much can be missing on the edges. Van de Wetering suggested as an explanation for the cusping on only one side that Rembrandt used a fragment of a probably much larger piece of linen for this work (Corpus of Rembrandt Paintings 1982-2015, vol. 6 (2015), no. 280). In 1893, Michel described the work as 'rounded at the top' ("cintrée du haut", Michel 1893, p. 555). During the restoration in 1972 they found that the upper left and right corners of the canvas had been added to restore the painting to its rectangular shape, and did not belong to the original canvas (Silberfeld 1972, p. 41-49; Blankert/Blokhuis 1997, no. 18)
Signature/inscription
Information about the signature, dating, inscription or any other mark on the front or back of the art work
  • signed and dated center right: Remban [sic] / f 1660
    The [dt] are probably missing due to some minor cropping of the work. The same conspicuous spelling mistake - the omission of the second 'r' - is found in the Half-lengt figure of a woman ("Hendrickje") in the Städel Museum in Frankfurt from c. 1660; it is unclear what this signifies. Tests have demonstrated that the signature was unquestionably part of the original painting (Corpus of Rembrandt Paintings 1982-2015, vol. 6 (2015), no. 280).
Current attribution
Rembrandt
Rejected attribution
follower of Rembrandt
Since the work was first mentioned by Smith in 1836 it was considered an autograph Rembrandt until Gerson doubted this attribution in 1969 (Smith 1829-1842, vol. 7 (1836), no. 379; Bredius/Gerson 1969, no. 124). Since then, the work was excluded from the Rembrandt canon (Sutton 1986, p. 5) until the nineties. Slatkes thought the work to be partly autograph (Slatkes 1992, no. 304), and Blankert reattributed the work entirely to Rembrandt, arguing that the rejection of this attribution by previous scholars was mainly caused by the fact that they had seen the work before it was cleaned and restored (Blankert/Blokhuis 1997, no. 18). Van de Wetering and the Baltimore Museum of Art agree with this attribution (Corpus of Rembrandt Paintings 1982-2015, vol. 6 (2015), no. 280; online collection catalog BMA, inv. no. 938.206)
Date
Exact or approximate dating of the described art work; the search parameters adopted for this art work in this database, are found in brackets.
c. 1660 (1658 - 1662)
Artistically related
Artistically related to other work
Such as a preparatory studie, comparable composition, other version, or copy of the artwork in this record.
Provenance
Exhibitions and literature
Visual documentation
Technical documentation
The RKD manages a collection of technical documentation that has been given to us by external researchers and museums or which stems from the RKD's own research with infrared reflectography. Documentation can be accessed by appointment at the RKD. While not all technical documentation has been entered in the database at present, new data is added on a regular basis.
Creation date: 2013-03-04; Last modified date: 2021-12-07

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