That is the previous painting that he painted over. The friendship / rivalry extended to 'let's see who can do the best self-portraits, the best genre paintings' and so on. They considered it authentic despite what they called its imperfect state. I'm going to be talking about this painting here which we entitle Rembrandt's 'Portrait of the artist as a young man'. He recorded his own physiognomy in a great variety of moods and costumes in some eighty paintings, etchings and drawings, and charted its changes with remorseless self-examination, from an ambitious and self-confident youth of 22, to a careworn and prematurely aged old man of 63. This melancholy image of an old man lost in thought is one of a group of studies made by Rembrandt in the 1650s. The Altman portrait is dated 1660, when he was fifty-four years old. There wasn't anybody around other than effectively Lievens and Lievens didn't paint in this way. I shall go through it with you so you can understand what you're looking at because x-rays usually need a little help in deciphering. There's his nose and eye up there and some of his hair, but down here you can see some legs, which are sort of about here. So he signs himself his first name. Sometimes you have more of a halo behind and more of the face is lit and less in shadow. Although the Rembrandt Research Project say that the Royal Collection's painting is Lievens, the British Rembrandt scholars and the Royal Collection's conservators say it's not by Lievens because they also own Lievens’ work and they say that technical analysis show that it's not the same way of handling paint. I suspect for a long time that that meant that a lot of people thought 'that must have been added later by someone who didn't know Rembrandt's name'. The self-portrait was sold in December 1651 and it was purchased by a Major Edward Bask. He'd have had a panel around and partly scraped it away. The painting, left, and an infrared version of the image, right. The painting depicts an elderly man with a downcast gaze, which the museum said was typical of Rembrandt's work at the time. There's been increasing evidence over the last two or three decades of research on Rembrandt that he did actually sign himself without a 'd' for what appears to be a very short period of time between late 1632 and 1633. I should explain a bit about, a bit of back history, about who and what the Rembrandt Research Project is. There is a bankruptcy case in 1656 and for the last decade of his life the self-portraits that he produces quite often have either unusual symbolic elements or they're self-portraits as an unusual characters. When Charles II came back on the throne in 1660 there was of course a great effort made by Charles II to recover the goods that had been sold in 1650. By 1650 he had got 30 paintings and 4 sculptures from this sale of Charles I's goods. After Charles I's death there was a huge sale of what was referred to as the King's goods and they were sold in various blocks. Because it was a thematic volume on the self-portraits, they of course had to revisit what they had already said about earlier self-portraits. One of the ways that you end up with a copper panel is that you create a tooth by rubbing the panel with a grainy sticky substance like garlic. All rights reserved. Once that has happened you can't do anything to recover it. It's like that permanently. Although the overall composition is very much like that, what I call the way that the scarf has been painted is much slicker.
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