The Mauritshuis Museum in The Hague has announced that three paintings previously attributed to Dutch master Rembrandt van Rijn are now recognized as copies, not original works by the artist. This revelation follows extensive research and conservation efforts, underscoring the museum’s commitment to scholarly integrity and the evolving nature of art historical scholarship.
The Paintings in Question
The three paintings—Study of an Old Man (1650), Tronie of an Old Man (circa 1630–31), and Minerva (circa 1635–40)—were acquired by the Mauritshuis in the late 19th century. At the time, they were considered genuine works by Rembrandt, largely due to the expertise of then-director Abraham Bredius. However, over time, doubts about their authenticity emerged.
The Research Process
In 2019, the Mauritshuis initiated a comprehensive research project to reassess these paintings. The study employed advanced techniques, including X-ray imaging, infrared reflectography, and pigment analysis, to examine the materials and methods used in the artworks. The findings indicated that these paintings were produced by artists working in Rembrandt’s style, possibly his students or followers, rather than by Rembrandt himself.
The Study of an Old Man and Tronie of an Old Man were identified as “tronies”—character studies that were not intended to depict specific individuals but rather to showcase a particular expression or character type. These works were previously thought to represent Rembrandt’s father and brother, respectively, but the new research has dispelled these associations.
The Minerva painting, once believed to be an original Rembrandt, was found to be a copy of a lost work. The signature “Rembrandt f.” (Rembrandt fecit) was determined to be a later addition, not from the artist’s hand.
Implications for the Mauritshuis Collection
This revelation does not diminish the Mauritshuis’s standing as a premier institution for Dutch Golden Age art. The museum still houses several undisputed works by Rembrandt, including The Anatomy Lesson of Dr. Nicolaes Tulp and The Laughing Man. The reassessment of these three paintings highlights the museum’s dedication to maintaining the highest standards of scholarship and transparency.
The Mauritshuis has expressed that these findings will be incorporated into future exhibitions and publications, providing visitors and scholars with a clearer understanding of the complexities involved in art attribution. The museum’s approach serves as a model for other institutions in the field of art conservation and research.
Conclusion
The Mauritshuis Museum’s recent findings regarding the three paintings once attributed to Rembrandt underscore the dynamic nature of art historical research. While these works are no longer considered authentic Rembrandts, they remain valuable examples of the artistic practices of Rembrandt’s circle. The museum’s commitment to rigorous research ensures that its collection continues to reflect the most current understanding of art history.
For those interested in exploring the complexities of art attribution, the Mauritshuis offers resources and exhibitions that delve into the methodologies and discoveries that shape our appreciation of art.
