Vorige maandVolgende maandMarch 2012
Tu We Th Fr Sa Su Mo
    1 2 3 4 5
6 7 8 9 10 11 12
13 14 15 16 17 18 19
20 21 22 23 24 25 26
27 28 29 30 31    

Tobit and Anna - The discussion about ‘the new Rembrandt’

from March 24 2012 until July 7 2013

Rembrandt van Rijn, Tobias and his wife, 1659, oilpaint on panel, 40,3 x 54 cm, with frame: 65,5 x 78,5 x 9,5 cm, on loan of Foundation Willem van der Vorm, 1972, Museum Boijmans Van Beuningen Detail signature Tobit and Anna, 2010, Archive Museum Boijmans Van Beuningen Infrared reflectogram Tobit en Anna, 2010, Archive Museum Boijmans Van Beuningen Exhibition view Tobit and Anna in Museum Boijmans Van Beuningen. Photo: Lotte Stekelenburg Exhibition view Tobit and Anna in Museum Boijmans Van Beuningen. Photo: Lotte Stekelenburg X-ray Tobit and Anna, 2010, Archive Museum Boijmans Van Beuningen Detail paint sample Tobit and Anna, 2010, Archive Boijmans Van Beuningen Exhibition view Tobit and Anna in Museum Boijmans Van Beuningen. Photo: Lotte Stekelenburg

In 2010, after intensive research, Ernst van de Wetering of the Rembrandt Research Project attributed the work ‘Tobit and Anna’ from the museum’s collection to the oeuvre of Rembrandt. Curator Jeroen Giltaij had already subjected the work to a thorough study in 1994 and, at the time, attributed it to “at most” one of Rembrandt’s pupils. From March 24, the discussion between these two Rembrandt experts can be followed in Museum Boijmans Van Beuningen.

The arguments on whether the painting ‘Tobit and Anna’ is by Rembrandt or not diverge considerably. The most important reason why Ernst van de Wetering attributes the work to Rembrandt concerns the changing incidence of light: the x-ray photo of the work shows that initially the painting included a window, but this was later painted over. According to the researcher, the old master would frequently ‘mess about’ with the light.
Jeroen Giltaij bases his argument mainly on the recycling of the panel on which the work is painted. The x-ray reveals that ‘Tobit and Anna’ was painted over a still life. According to the curator, Rembrandt would never paint over an existing painting.

Evidence

Both Jeroen Giltaij and Ernst van de Wetering explain these and other arguments on video. The videos can be seen in hall 2, together with the ‘evidence’ that each put forward. This evidence includes the work itself, x-ray photographs, an infra-red reflectogram and detailed photographs of a paint sample.

ArtTube

Watch Jeroen Giltaij's argumentation here on ARTtube.
Watch Ernst van de Weterings argumentation here on ARTtube.

The presentation can be seen from 24 March in hall 2, as part of The Collection Enriched.