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From 1870 to 1935, the 1st actual catalogues raisonnés of Rembrandt's work have been produced, incorporating the result of person connoisseurs' reviews of authenticity and caliber. This publication, the 1st full-length research of this scholarly corpus, concentrates at the written connoisseurship of Wilhelm von Bode, Abraham Bredius, Cornelis Hofstede de Groot, and Wilhelm Valentiner, whose articles and catalogues first formed the fashionable belief of Rembrandt as a painter. as well as examining their written paintings, Scallen addresses the social context in their connoisseurial practices, as formed by way of their museum careers and their relationships with buyers and collectors.

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This day none of those works are authorised as real Rembrandt work; such a lot disappeared from the literature by the point of Bredius’s Rembrandt catalogue of 1935. How did Hofstede de Groot justify his advocacy of those work as works by way of Rembrandt? He was once pressured to confess “even top connoisseurs like Bredius” believed that Rembrandt and His spouse Saskia [fig. 30] was once painted by means of Ferdinand Bol; those students pointed to the signature of Rembrandt and not using a “d” as one no longer utilized by him approximately 1635-36, whilst the portray had supposedly been finished by means of Rembrandt. Hofstede de Groot disputed the validity of this declare via relating insisted used to be the same signature at the Dresden double portrait of Rembrandt and Saskia. sixty two He in comparison the Buckingham Palace Rembrandt and His spouse Saskia to a portray on exhibit within the London Rembrandt exhibition, the so-called Orator (no. 22) there attributed to Rembrandt, yet which he maintained was once via Bol – to not help the attribution of the Buckingham Palace photo to Bol, as Bredius and others most well-liked, yet to point as an alternative its superiority to Bol’s artwork. sixty three “One want in simple terms examine the flatter modeling of the pinnacle and the greenish tone at the inside the hand to determine the space which separated scholar from grasp. ” sixty four Hofstede de Groot admitted to the weaknesses of Rembrandt and His spouse Saskia, similar to the inexpressive head of Rembrandt and the “tediously” painted pink tablecloth, yet insisted that the truth that the determine of “Saskia” reappeared within the smaller portray attributed to Rembrandt in Saint Petersburg used to be now not, as a few maintained, facts opposed to the Buckingham Palace paintings. Its lifestyles purely indicated that Rembrandt were compelled after his financial disaster to promote the bigger, past paintings, yet that he had 152 rembrandt, popularity, and the perform of connoisseurship * Scallen V5 02-02-2004 17:01 Pagina 153 (Zwart/Process Black Plaat) copied the determine of Saskia from it as a remembrance of happier days. This interestingly argued justification for an attribution to Rembrandt finally rested extra on Hofstede de Groot’s sentimental institutions of the portray with the situations of Rembrandt’s lifestyles than on any reliably hired approach to connoisseurship. Nor might his comparability to the Orator within the London exhibition assist in his attribution in any respect; basically comparability to a documented paintings via Ferdinand Bol will be of any use for this workout, by no means a portray of which the attribution was once itself in query. His security of the opposite work was once often succinct, yet unconvincing in supplying any safe foundation for his argumentation, and evincing an odd prioritization of stylistic parts. The Slaughtered Ox have been rejected via Bredius and Michel as inauthentic when put next to the model of this topic in Glasgow, yet for Hofstede de Groot, ameliorations among their execution have been easily the results of a decade or extra separation in time, and in addition, the “still lifetime of pots and vessels was once completely Rembrandtesque.

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