Art appreciation is a subjective business, art history shouldn’t really be. However, great though Rembrandt is in so many of his paintings, I think that this portrait is one of his finest works, an out and out masterpiece, in a field where that word is routinely abused.
Except, it’s not by Rembrandt, after all. That’s the conclusion reached by various experts around 1985, on what you might call fairly trivial grounds. Not everyone agreed, implied in this fine article from the New York Times back then. Indeed, with a painting so wonderful, does the attribution actually matter?
It went on and on, with Rembrandt as the primary victim of warring art ‘experts’ with some pretty odd theories. This great piece in the FT from last year makes the point well:
..we might ask who are all these mysterious, supremely talented “followers of Rembrandt”? Who are the artists able to paint works as fascinating as “The Man with the Golden Helmet” in Rembrandt’s studio, but who have left no trace of any independent practice? I doubt many exist – they are a spectre of modern Rembrandt scholarship.
Funnily enough, this seems to be one of the most popular Rembrandts out there, judged by web hits, despite the claims about authenticity. The Knife loves most of his stuff (see here and here), and in these days of atavistic violence posturing as a challenge to Western cultural values, there is no better cultural riposte than this endlessly fascinating meisterwerk.