Exhibitions/ Art Object

Study Head of an Old Man

Artist:
Style of Rembrandt (Dutch, mid- to late 1630s)
Medium:
Oil on wood
Dimensions:
8 1/4 x 6 7/8 in. (21 x 17.5 cm)
Classification:
Paintings
Credit Line:
Bequest of Lillian S. Timken, 1959
Accession Number:
60.71.16
Not on view
Forthcoming
?private collection, England (in 1924); [Van Diemen-Lilienfeld Galleries, New York, in 1950, as by Rembrandt; sold to Timken]; Lilian S. (Mrs. William R.) Timken, New York (until d. 1959)
New York. The Metropolitan Museum of Art. "Rembrandt/Not Rembrandt in The Metropolitan Museum of Art," October 10, 1995–January 7, 1996, no. 39.

New York. The Metropolitan Museum of Art. "The Age of Rembrandt: Dutch Paintings in The Metropolitan Museum of Art," September 18, 2007–January 6, 2008, no catalogue.

Paolo Lecaldano in L'opera pittorica completa di Rembrandt. Milan, 1969, ill. p. 131, includes it among works of doubtful attribution.

J. Bauch. Letter to John Brealey. November 30, 1977, reports that the tree from which this panel was made was felled not earlier than 1622 and not later than 1650.

J[osua]. Bruyn et al. A Corpus of Rembrandt Paintings. Vol. 2, 1631–1634. The Hague, 1986, p. 653, fig. 5 (reversed), calls it a "superficial pastiche".

Walter Liedtke in Rembrandt/Not Rembrandt in The Metropolitan Museum of Art: Aspects of Connoisseurship. Exh. cat., The Metropolitan Museum of Art. Vol. 2, "Paintings, Drawings, and Prints: Art-Historical Perspectives."New York, [1995], pp. 132–34, no. 39, ill. (color), as "probably an Amsterdam product of the 1630s".

Hubert von Sonnenburg. Rembrandt/Not Rembrandt in The Metropolitan Museum of Art: Aspects of Connoisseurship. Exh. cat., The Metropolitan Museum of Art. Vol. 1, "Paintings: Problems and Issues."New York, 1995, p. 13, figs. 7–8 (x-radiographs).

Walter Liedtke. Dutch Paintings in The Metropolitan Museum of Art. New York, 2007, vol. 2, pp. 708, 713–15, 749, no. 162, colorpl. 162, attributes it to "a minor pupil of Rembrandt or . . . a less closely connected follower," and dates it to the mid- or late 1630s.



Other versions of this composition include works in the Virginia Museum of Fine Arts, Richmond, and the Staatliche Kunstsammlungen, Kassel [see Ref. Bruyn et al. 1986].
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