AM I REMBRANDT?

'Am I Rembrandt?' examines
the complexities of attributing the Dutch Master’s paintings. Its focus is 'Self-portrait, wearing a Feathered Bonnet',
on loan from Buckland Abbey, National Trust. In 2014 the self-portrait was
authenticated by Rembrandt specialists, following extensive technical investigation. 'Am I Rembrandt?' explores how curators
and conservators worked together to authenticate the painting. It also looks
critically at the attribution of paintings by Rembrandt in the Dulwich
collection. 'Jacob de Gheyn III' and 'Girl at a Window' are undisputed works by
the Master that are often used as a standard by which to judge unsigned
paintings from the same periods. By contrast, the authorship of 'A Young Man' is complicated by the work’s
degraded condition whilst 'Jacob’s Dream' – once one of the most celebrated works by Rembrandt at Dulwich – has since
been given to one of the artist’s pupils after a signature was uncovered during
restoration. The Dulwich Rembrandts also offer striking examples from the
artist’s early, mid and late career; revealing how his style and technique
developed over time.

The status of 'Self-portrait, wearing a Feathered Bonnet' has been questioned in the past; it has been suggested that the painting could be a copy after a lost original by Rembrandt.

Yet recent technical analysis suggests the painting is not a copy; since the artist changed their mind several times during the course of production.

This X-ray shows the outline of a lace cuff, suggesting that the artist sketched in an arm before reconsidering.

One of the most famous pictures at Dulwich and unquestionably painted by Rembrandt, 'Jacob de Gheyn III' is used as a standard against which to judge unsigned and undated pictures of the 1630s.

This detail shows Rembrandt's signature and the date '1632'

'Girl at a Window' is also a firmly attributed work by Rembrandt.

This detail shows Rembrandt's signature and the date '1645'

'A Young Man' is a powerful character study that is typical of Rembrandt’s late style with its vigorous brushwork and rich palette. Yet, its attribution has been questioned.

The painting’s poor condition has led to doubts around its authorship: the head is still in an excellent state, but the coat, which was originally painted with Rembrandt’s characteristic thick impasto, has become worn.

A recent X-ray suggests that this is an original work not a copy, since the artist changed his mind during the course of painting.

Rembrandt originally painted the young man with his left hand across his chest and his right perhaps in the act of writing.

More recently Aernout van der Mye (c. 1625-81) has been suggested as a possible candidate.

Aernout van der Mye was included in Rembrandt's group portrait of the 'Syndics of the Draper’s Guild' (Rijksmuseum, Amsterdam).

'Jacob’s Dream' was once one of the most admired paintings by ‘Rembrandt’ at Dulwich.

The visionary quality of the artist’s use of light and space, and the expressive use of paint, appealed especially to the romantic ideals of 19th century artists.

Towards the end of the 19th century, however, it was suggested that the painting was in fact by Rembrandt’s last pupil Aert de Gelder. This theory was confirmed when restoration uncovered a signature in the lower right corner.