Debate Over Authorship of Rembrandt's "Old Man with a Gold Chain"

A significant art historical debate has emerged regarding a painting long considered a workshop copy of Rembrandt van Rijn's "Old Man with a Gold Chain." Renowned art historian Gary Schwartz argues that this painting, currently on loan from Sir Francis Newman and displayed alongside the original at the Art Institute of Chicago, may actually be an autograph replica created by Rembrandt himself. The original, painted on oak panel around 1631, has been part of the museum's collection since 1922, while the canvas version has been labeled a copy for decades.

Copy of Rembrandt portrait on display in Chicago is by the master himself, scholar claimsRembrandt Mystery: Is ‘Workshop Copy’ Actually by the Master?The Guardian

The contested painting was acquired by Newman’s great-grandfather in 1898 as a Rembrandt. However, in 1912, German art historian Wilhelm Bode dismissed it as a clever reproduction, a view that has influenced subsequent scholarship. Schwartz critiques Bode's lack of substantial reasoning for this conclusion, noting that the Newman painting has only been exhibited once since 1952, when it was mistakenly labeled as an original in the exhibition catalogue.

The Guardian

Recent studies, including those conducted by the Hamilton Kerr Institute, have revealed that the canvas and pigments of the UK version align with materials used by Rembrandt and his workshop in the early 1630s. Differences in execution between the two paintings, such as variations in the depiction of eyelashes, suggest that the canvas version may not simply be a student’s work but rather a deliberate reproduction by Rembrandt. Schwartz posits that if Rembrandt had a customer for a replica, it would be more efficient for him to create it himself rather than assign it to a pupil who would require corrections.

The Guardian

The debate over the authorship of the second painting raises broader questions about Rembrandt's studio practices. Justus Lange, acting director of the Gemäldegalerie Alte Meister, acknowledges the need for further research into the phenomenon of copies and replicas in Rembrandt's oeuvre. He emphasizes that the distinction between an autograph replica and a workshop copy is complex and may reflect collaborative efforts within Rembrandt's studio.

Copy of Rembrandt portrait on display in Chicago is by the master himself, scholar claimsRembrandt Mystery: Is ‘Workshop Copy’ Actually by the Master?

The Art Institute of Chicago has stated that while their analysis suggests the UK version is a workshop reproduction, the conversation regarding its authorship is ongoing. Schwartz's findings have prompted renewed interest in the possibility that Rembrandt himself may have created the second version, a notion that could redefine the understanding of his artistic practices.

Copy of Rembrandt portrait on display in Chicago is by the master himself, scholar claims

While Schwartz advocates for the painting's attribution to Rembrandt, the Art Institute maintains its classification as a workshop copy. This discrepancy highlights the evolving nature of art historical scholarship and the challenges in definitively attributing works to the master.

Rembrandt Mystery: Is ‘Workshop Copy’ Actually by the Master?

• “ He added: “If Rembrandt had a customer for a replica of his attractive Old Man, what would be the most effective and efficient way of making it?” — Gary Schwartz, Art Historian

The Guardian

• “the conversation about the purpose and authorship of these copies continues to evolve” — Art Institute of Chicago Statement

The Guardian

The ongoing debate surrounding "Old Man with a Gold Chain" illustrates the complexities of art attribution and the potential for new discoveries to reshape historical narratives.

Rembrandt Mystery: Is ‘Workshop Copy’ Actually by the Master?