Latest reattribution by the Rembrandt Research Project

Statement regarding Walker Art Gallery painting

The Amsterdam-based Rembrandt Research Project (RRP) has suggested in its most recent publication, 'A Corpus of Rembrandt Paintings' Volume IV, that the Walker Art Gallery’s portrait of 'Rembrandt as a young man' is possibly not a self-portrait by Rembrandt but may be by Isaack Jouderville (born about 1612-died before 1648), an assistant in Rembrandt’s studio in 1630-1. Its opinion is based solely on a comparison of seeming differences in brush-style between the Walker’s Rembrandt self-portrait painted on wood and a much smaller Rembrandt self-portrait painted on copper (in the National Museum, Stockholm).

The Walker Art Gallery’s curators believe that in its present condition it is not feasible to make such a firm judgement on its painting, which is covered in a heavy discoloured varnish that obscures both original brushstrokes and old retouchings, and has probably not been cleaned for at least half a century.

It is especially not possible to reattribute the painting to an artist such as Jouderville, who is only known by one other signed portrait (in the National Gallery of Ireland, Dublin) which is significantly different in style.

The RRP was formed in 1968 to research and classify all of Rembrandt’s known paintings and publish their opinions on them in five volumes, originally planned for publication in chronological order. Since 1993 it has been led by Professor Ernst van de Wetering, of Amsterdam University, assisted by a small group of Dutch specialists. The group first published an opinion on the Walker’s portrait in 1982 in Volume 1 of its 'Corpus', when it was accepted as an experimental self-portrait by a young Rembrandt, probably painted sometime between 1630 and 1631. Recently the RRP, in a differently constituted and regrouped form, has decided to revisit its previous opinions on all Rembrandt’s self-portraits and publish them as a separate revised book, Volume IV. It was while reviewing its opinion that the RRP decided to change its mind about the status of the Walker’s painting, but no new photographic, x-ray, infra-red or other scientific analysis of the painting was undertaken for their recent publication.

The painting has been in the Walker’s collection since 1953 and was firstdescribed as a self-portrait by Rembrandt in the inventory, compiled in about 1639, of King Charles I’s paintings, when it hung in Whitehall Palace. It had been part of a gift from the Dutch court to Charles I, which was delivered to the King sometime between 1629 and 1633, by a British envoy to the court, Sir Robert Kerr, later 1^st Earl of Ancram. The other extant painting in the royal gift, Rembrandt’s painting of 'An Old Woman (‘The Artist’s Mother’)' is still in the Royal Collection (presently on display in The Queen’s Gallery, Buckingham Palace).

Although the RRP has previously reattributed the Royal Collection’s painting to Rembrandt’s friend and rival, Jan Lievens (1607-74), the painting is considered by leading British Rembrandt scholars to be by Rembrandt and its attribution to Rembrandt has consequently been retained by the Royal Collection. Similarly when the RRP questioned the attribution of some of the National Gallery’s paintings they responded by researching and organising an exhibition (Art in the Making: Rembrandt1988/89) of its works by Rembrandt and his studio assistants, which effectively refuted the RRP’s suggestions.

Prof. van de Wetering himself admits that the RRP’s view is solely an opinion and a changeable one, “which anybody can take or leave in cases where the arguments … concern no more than style and quality”.

National Museums Liverpool concurs with that comment and considers that the RRP’s view is not a definitive judgement but merely one opinion amongst many that the Walker Art Gallery takes into account when displaying and interpreting its painting to the public.

View the Walker Art Gallery's 'Rembrandt as a young man'

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