Self portrait wearing a white feathered bonnet is an oil painting attributed to the Dutch painter Rembrandt. It is signed and dated 1635. It was traditionally regarded as a Rembrandt self-portrait until 1968, when it was rejected on stylistic grounds in the Rembrandt catalogue raisonné by Horst Gerson. On 18 March 2013 it was re-attributed to the master by Ernst van de Wetering. It is one of over 40 painted self-portraits by Rembrandt.
Oil painting on poplar panel, Self portrait, wearing a Feathered Bonnet by Rembrandt van Rijn (Leyden 1606 – Amsterdam 1669) (and studio?), signed and dated, at the lower right background: Rembrant / f (followed by three dots in a triangular pattern) 1635. A half-length portrait of the artist with a white and golden feathered bonnet. He is also wearing a sumptuously embroidered velvet cloak, a gorget (metal neckband) and gold chains. His jewelled beret has elegant golden and white plumes, attached theatrically in the center with a large gem. He is standing in a starkly-lit studio and his shadow with the feathers is playfully depicted on the wall behind. The portrait was painted in 1635, after the artist had settled in Amsterdam from his native Leiden and had married Saskia van Uylenburgh, cousin of his art-dealer friend.
Self portrait, wearing a White Feathered Bonnet is a half-length portrait of the artist wearing a velvet cap with an ostrich feather, cloak and gorget (that’s a type of collar). The 91cm x 96cm picture was painted around 1636 and is attributed to the Studio of Rembrandt. Rembrandt Harmenszoon van Rijn (1606-1669) is widely regarded as one of the most prolific self portraitists ever with experts estimating that he painted 40-50 pictures of himself in oils, 32 etchings and seven drawings.
...In October , Ernst van de Wetering, Dutch art historian and Chair of the Rembrandt Research Project in Amsterdam, visited Buckland Abbey to study the self-portrait. He said he was convinced that the painting is an authentic work by Rembrandt and has subsequently included a colour reproduction, with the different arguments for the attribution, in an exhibition of Rembrandt’s 325 painted works in Amsterdam. Van de Wetering concluded that, although he believes it is genuine, it is impossible to be sure about the authorship of the painting without having it cleaned. We have now launched a technical investigation, starting with cleaning the portrait and restoring it to its original glory to see if a 100 per cent verification is possible. A full technical analysis, funded by £20,000 from the People’s Postcode Lottery, will include X-rays, examination of paint pigments, infrared testing to examine any drawing under the painting and tree-ring dating of the beech panel it is painted on.
A Rembrandt self-portrait has finally been deemed authentic after eight months of scientific analysis.
The 1635 painting depicts the artist wearing a feathered bonnet and metal band around his neck.
Its authenticity has been questioned for decades. Rembrandt specialist Horst Gerson said in 1968 that areas of the painting were not accomplished enough to be the work of the Dutch master, and it was more likely to have been painted by one of his pupils.
But experts at the Hamilton Kerr Institute in Cambridgeshire removed several layers of aged varnish and analysed the artist’s signature, concluding that the painting – thought to be worth £30-million – was genuine.
David Taylor of the National Trust, which owns the artwork, said: “The varnish was so yellow that it was difficult to see how beautifully the portrait had been painted.”