Rembrandt Research Project ended

“Corpus of Rembrandt Paintings” will have a much-reduced final volume

Man with a Golden Helmet and The Polish Rider

AMSTERDAM. The Rembrandt Research Project (RRP) is to be closed down, although it is tantalisingly near to finishing its full catalogue. After 42 years of work, five volumes of the Corpus of Rembrandt Paintings have been published, the most recent last October (Springer publishing, €1,200). There was to have been one more detailed volume, but this has been dropped.

In meticulous detail, the Corpus provides entries on 240 paintings which have been accepted as works by Rembrandt, along with 162 doubted or rejected works. This leaves 80 works which have not yet been catalogued, a quarter of the oeuvre. These will be included in a shorter summary volume.

Last month the RRP board decided to wind down the project by the end of this year. Chaired by Ernst van de Wetering, its members are Egbert Haverkamp-Begemann (New York Uni­versity), Taco Dibbits (Rijks­museum), Peter van de Ploeg (Waanders publishing) and Rudi Ekkart (Netherlands Institute for Art History).

Although the Amsterdam-based project was originally envisaged as taking a decade, it ended up dominating the working life of Van de Wetering, now the doyen of Rembrandt studies. After joining as a young researcher in 1968, he has been the RRP chairman since 1993. Now 72, he does not have another decade of energy to research and write an 800-page detailed catalogue for the last 80 pictures. There seem to be no younger scholars with the experience or desire to take over the leadership.

Funding is also difficult. Most of the RRP’s money came from the Netherlands Organisation for Scientific Research, but this was cut off in 1998.

To round off the Corpus, Van de Wetering now plans to publish a final, summary volume reproducing all the 320 paintings that he believes are by the master’s hand. For the 240 already catalogued, there will be brief entries and references to the earlier volumes. For the 80 uncatalogued paintings, there will be slightly longer entries.

Much of the RRP’s archive was transferred in 2009 to the Netherlands Institute for Art History in The Hague. Although technically open to scholars, the institute’s website states that they are closed and their availability remains unpublicised. Gary Schwartz, an independent specialist and author of Rembrandt’s Universe (2006), is critical of the arrangements. “I find it incomprehensible that an archive assembled at considerable public cost since the 1960s has been kept beyond the reach of researchers for so long,” he said.

Meanwhile, another Rem­brandt project is about to be launched. Jointly organised by the Mauritshuis and the Netherlands Institute for Art History, the Rembrandt Data­base is being funded by the New York-based Mellon Foundation. Although still at an early stage, it is assembling technical data on 19 Rembrandt paintings in The Hague, New York, London, Paris and Dresden. Information on further paintings will be added and this data will be supplemented with material from the RRP and made available on the web (


When the RRP was established, its aim was simple: a small group of the greatest Dutch specialists would undertake a detailed examination of the paintings then attributed to Rembrandt, using the latest scientific techniques. Having assembled the data, the team would analyse the results, sifting the authentic works from those by Rembrandt’s studio and later followers.

Abraham Bredius, the greatest Rembrandt scholar of the first half of the 20th century, had accepted 613 paintings in his 1935 catalogue. By the 1960s, this number seemed high, and most specialists would have halved the figure.

Initially the RRP took an even tougher approach, and it was predicted that they would eventually accept fewer than 250 paintings, slashing the Bredius figure by almost two-thirds. With the publication of the first three volumes of the Corpus (1982, 1986 and 1989), museums and private collectors found that over a 100 works had been rejected, leading to a crisis in Rembrandt scholarship.

By the early 1990s there were severe tensions within the RRP, with the youngest member, Van de Wetering, complaining that the four others were rejecting too many works. In a 1993 letter to Burlington magazine, Josua Bruyn, Bob Haak, Simon Levie and Pieter van Thiel stood firm on their tough approach to authentication, announcing their resignation. Van de Wetering was left in sole charge.

Since then there has been a fundamental change in the approach of the RRP, and rather than headlines about rejected Rembrandts, the news has been about additions to the oeuvre. Recently these have included the newly discovered 1628 self-portrait sold at a Cirencester auction house in 2008 and Tobias and his Wife, 1659 (Boijmans Van Beuningen Museum, Rotterdam), which in the latest volume of the Corpus is attributed to Rembrandt, rather than a pupil.

Van de Wetering told The Art Newspaper that he accepts around 320 paintings, compared with the 250 that had been expected under the old RRP. Some scholars, such as Christopher Brown, the director of Oxford’s Ashmolean Museum, believe that the RRP has veered from being “unduly restrictive” to “an excessive inclusiveness”.

The other main reform introduced by Van de Wetering was to change the format of the Corpus, from being presented on a chronological basis (the first three volumes covered 1625-42) to one that is thematic. Volume IV (2005) is on self-portraits and Volume V (2010) on small-scale history paintings. With this approach, there should have been a Volume VI on the remaining works—post-1642 portraits, tronies (character heads), large-scale history paintings and landscapes.

Publication of the Corpus has been welcomed by scholars, primarily for the sheer quantity of data in its 4,000 pages, but it is unwieldy and difficult to use. The price tag, over £5,000 for the set, also makes it too expensive for most art historians and specialist libraries.

Ins and outs

Man with a Golden Helmet, Gemäldegalerie, Berlin

Long regarded as one of Rembrandt’s finest works (around 1650), it was then downgraded by the RRP in Vol. II of the Corpus. The painting remains on show, as “Circle of Rembrandt”.

The Polish Rider, Frick Collection, New York

Leading RRP scholar Josua Bruyn rejected the painting but the Frick continued to maintain it was authentic. In the latest RRP Corpus, Van de Wetering catalogues it as “Rembrandt (with later additions)” and dates it to around 1655.

Self-portrait in a Flat Cap, Royal Collection

The self-portrait was dismissed in 1982 by Royal Collection curator Christopher White as an 18th-century imitation. In Vol. V of the Corpus, Van de Wetering catalogued it as authentic, 1642.

Laughing Man, Mauritshuis, The Hague

Rejected in Vol. II of the Corpus, in Vol. IV Van de Wetering catalogued it as the real thing. The Mauritshuis displays it as a Rembrandt, 1629-30.

Ernst van de Wetering: accepts 320 paintings
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28 Jan 15
15:54 CET


Please do not close down your research! I think I may have a Rembrandt.. I grew up with it and have been reluctant to give it up. Jonathan v H

17 May 14
12:40 CET


Whilst, I agree, many art historians would jump at the chance to be part of this project. However the project has stalled due to the Netherlands government cutting off the funds. If additional funds were secured to continue the work it could spark serious interest.

2 Nov 12
14:37 CET


This article is important and gives alot of information. Ive learned that art had alot of value in the older days.

12 Dec 11
15:16 CET


Yes also hard to believe that this project should end , I inherited a collection of fine arts from my parents with 3 pieces that they mentioned came from either Rembrandt or is students and I'm just starting to study them with also the intent to leave this heritage to my children but this time with the full history and wanted the support of this team to help me on this research.

1 Mar 11
16:4 CET


The closing of the RRP is great news symbolically. It must signal the end of the shrinking Rembrandt. He can now expand again to his true magnificent proportions. It does not surprise me in the least that no young person is prepared to follow in the footsteps of the RRP. I have been demonstrating very good reasons for this refusal since my Burlington article of Feb. 1977. Those reasons are available on or my blog on which mainly deals with the shocking catalog of the recent Getty exhibition "Rembrandt and his Pupils, telling the difference". On the contrary, I am scandalized it has taken so long for the penny to have dropped. What I discovered of Rembrandt in 1974 was in agreement with his contemporary's reports. While the RRP and their colleagues in charge of the drawings flatly contradict those who actually knew Rembrandt.

1 Mar 11
15:53 CET


I 2nd on the thoughts of Claire and Geo. It is indeed shameful not to have any more young historians. It is advisable to research further on the talent pool before taking the final call. Its an honor in itself to be associated with such a unforgettable art project.

26 Feb 11
10:54 CET


I cannot believe that there are no young art historians without the passion and skills to take on such an amazing project. What a shame to leave it unfinished after so many years of dedication.

25 Feb 11
8:28 CET


I find it hard to believe that no young scholars can be found to continue the research. I believe that most young art historians would jump at the chance to be part of such a prestigious project.....

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