This study of an old bearded man with a sad, forlorn expression was acquired as a Rembrandt by Peter A. B. Widener from the London art market in 1905. When Wilhelm Valentiner cataloged Widener’s paintings in 1913, he dated it about 1645 and emphasized the painting’s “broad, powerful brushwork and deep thoughtful expression which characterize the artist’s later style.” Ensuing assessments, however, have been less enthusiastic. In most subsequent catalogs of Rembrandt’s paintings the picture has been doubted, rejected, or omitted entirely. Martin questioned the attribution as early as 1921, and, though Bredius included the picture in his 1935 catalog, he expressed his doubts in a note: “The picture is known to me only from a photograph, and I am not entirely convinced of its authenticity.” Bauch subsequently rejected it, as did Gerson. Rosenberg is the only modern Rembrandt scholar to accept it as authentic. The National Gallery of Art changed its attribution to “Style of Rembrandt” in 1984.
This painting is one of a large number of rapidly executed oil sketches that Valentiner introduced into Rembrandt’s oeuvre in the early years of the twentieth century. Most of these attributions have now been rejected. Indeed, the painting has only the vaguest resemblance to Rembrandt’s work. The figure type is uncharacteristic for Rembrandt: the anatomy of the head is not understood, and the superficial modeling of the skin and hair is foreign to his style.
A date of execution for the painting is difficult to establish. Dendrochronological examination [see DendrochronologyA method of dating wood by examining the annual growth rings.] has determined that the tree from which the panel was made was felled in 1666 plus or minus five years. The head, however, is painted over another rendering of a head of a man. This figure, visible in the upside-down X-radiographs [see X-radiographyA photographic or digital image analysis method that visually records an object's ability to absorb or transmit x-rays. The differential absorption pattern is useful for examining an object's internal structure as well as for comparing the variation in pigment types.], is seen in profile and wears a hat [fig. 1]
[fig. 1] Upside down X-radiograph composite, Follower of Rembrandt van Rijn, Study of an Old Man, probably late 17th century, oil on panel, National Gallery of Art, Washington, Widener Collection, 1942.9.63. Because the handling of paint in this figure is quite different from that in the surface image [fig. 2]
[fig. 2] Follower of Rembrandt van Rijn, Study of an Old Man, probably late 17th century, oil on panel, National Gallery of Art, Washington, Widener Collection, 1942.9.63, it seems unlikely that both heads were painted by the same artist. Almost certainly, the head we see today was executed on an old panel after Rembrandt’s death, in emulation, or imitation, of the master’s work.
Arthur K. Wheelock Jr.
April 24, 2014
