|Title||The Vanishing Rembrandts - ACE249.5|
Commentary talks about the "backlash" against the Committee’s decisions. Metropolitan Museum, New York, which has the resources to defend each item in its collection. Walter Liedtke, Curator of the Museum, believes his science and connoisseurship is as valid as that of the Committee, and says that three paintings, Portrait of a Man (1632) and Portrait of a Woman (1632) (seen next to Portrait of a Young Woman with a Fan (1633)) still hang as Rembrandts even though the Committee has rejected them. Liedtke explains his views. Self Portrait (1661). Brown argues that some paintings are less accomplished than others as Rembrandt’s particular interest was in biblical subjects and his portraits were done out of financial necessity. The Angel Stopping Abraham from Sacrificing Isaac to God (1635). Van de Wetering saying that it’s not a question of "great art"; Carel Fabritius’s self portrait, Young Man in a Fur Cap (1654). Portrait of a Man (1647), Portrait of a Lady (1647) (both from Duke of Westminster’s collection) which commentary says "seem to be authentic", are now attributed, by the Committee, to Fabritius. Gary Schwartz, Rembrandt Biographer, says the Project "concentrates entirely on handwork". Brown says all evidence comes from interpretation of the pictures; there is no external testimony about Rembrandt’s working practices. Schwartz says there’s "a gap" between the Committee’s evidence-gathering and the conclusions they draw. Bruyn defending the Committee’s "credibility gap". Schwartz admires the Committee for refusing to be influenced by earlier judgements, but believes its reputation is not sufficient authority for all the attributions it now makes.
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