Rembrandt is the most famous of the seventeenth-century Dutch painters. However, there are doubts whether some paintings attributed to Rembrandt were actually painted by him. One such painting is known as attributed to Rembrandt because of its style, and indeed the representation of the woman’s face is very much like that of portraits known to be by Rembrandt. But there are problems with the painting that suggest it could not be a work by Rembrandt.
First, there is something inconsistent about the way the woman in the portrait is dressed. She is wearing a white linen cap of a kind that only servants would wear—yet the coat she is wearing has a luxurious fur collar that no servant could afford. Rembrandt, who was known for his attention to the details of his subjects’ clothing, would not have been guilty of such an inconsistency.
Second, Rembrandt was a master of painting light and shadow, but in this painting these elements do not fit together. The face appears to be illuminated by light reflected onto it from below. But below the face is the dark fur collar, which would absorb light rather than reflect it. So the face should appear partially in shadow—which is not how it appears. Rembrandt would never have made such an error.
Third, the wood panel used for this painting raises concerns. When the fur collar was added, the panel was also enlarged, a practice not consistent with Rembrandt’s usual method of working. The original panel, as it stands, is not typical of those used in genuine Rembrandt works. This alteration suggests an attempt to enhance the painting’s grandeur and value, which was not characteristic of Rembrandt’s authentic style.
Summarize the main points from the lecture and explain how they challenge or relate to the points in the reading passage.