attributed to Rembrandt

Self portrait wearing a beret and two golden chains, ca. 1640
Madrid (Spain), Museo Thyssen-Bornemisza, [..]
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Object information
Object category
panel (oak), oil paint
The wood used for this panel comes from the same tree as the wood used for the panels of four undisputed Rembrandt paintings: 'Saint John the Baptist preaching' from the Gemäldegalerie in Berlin [RKDImages no. 52653], 'Christ and the woman taken in adultery' of The National Gallery London [RKDImages no. 52807], the 'Portrait of Herman Doomer' from The Metropolitan Museum of Art in New York [RKDImages no. 32162] and the 'Portrait of Aletta Adriaensdr' from the Museum Boijmans van Beuningen in Rotterdam [RKDImages no. 2961] (Corpus of Rembrandt Paintings 1982-2015, vol. 4 (2005), no. IV 2).
rectangle (portrait format) 72,2 x 58,3 cm
The panel was possibly originally larger (White et al. 1999, no. 59; Corpus of Rembrandt Paintings 1982-2015, vol. 4 (2005), no. IV 2).
Information about the signature, dating, inscription or any other mark on the front or back of the art work
Current attribution
attributed to Rembrandt
This painting was always viewed as an autograph Rembrandt until doubted by Gerson in 1968. He stated that the painting had many strange features, which made him doubt about the attribution to Rembrandt and the period of production (Gerson 1968, no. 240). Largely based on the pictorial quality and the painting technique Gaskell concluded that the painting was made by a workshop assistant of Rembrandt or one of his followers (Gaskell 1989, no. 25). After "evaluation of the work’s genesis, its technical, stylistic and qualitative characteristics as well as observations with respect to Rembrandt’s facial features" the RRP stated that "there are more arguments in favor of it's autograph nature than against it" (Corpus of Rembrandt Paintings 1982-2015, vol. 4 (2005), no. IV 2). Since then this painting has generally been accepted as an autograph Rembrandt (White et al. 1999, no. 59; Leca/Chapman 2008, p. 13).
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. 1640 (1640 - 1642)
Corpus of Rembrandt Paintings 1982-2015, vol. 4 (2005), no. IV 2
IB number
Number related to the portrait iconography collection RKD.
Identification based on
Artistically related
Artistically related to other work
Such as a preparatory studie, comparable composition, other version, or copy of the artwork in this record.
  • copied in print by
    Johann Nepomuk Muxel
    etching, inscribed: N Muxel aqua f. / Rembrandt., published in: J.D. Passavant, Gemälde-Sammlung des Herzogs von Leuchtenberg, Frankfurt-am-Main 1851, no. 147 (Passavant 1851, p. 29, no. 147)

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.
Externe links
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Entered on: 2000-04-10; Last modification: 2018-07-24


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