When a Rembrandt copy is not a forgery
So you’d think that making a replica of a Rembrandt might be frowned upon by the art world, but this copy of “An old man in military costume” has full approval of its owners.
In fact, the folks at the Paul Getty Museum in LA, asked their own intern to replicate the masterpiece as well as the hidden painting beneath it.
It seems that there’s a pretty good reason for making the copy, or “mock-up” as the researchers call it.
For years, museum researchers have known that there’s another painting beneath the military portrait. But they’ve had a tough time getting more than just a faint whiff of the image hidden below using standard analytical methods.
Over the past few years, a new technique called scanning macro X-ray fluorescence (MA-XRF) has proven itself useful for uncovering hidden paintings on canvases by Van Gogh, Goya and others.
The question is whether MA-XRF would work for Rembrandt’s military portrait. And specifically, whether a portable X-ray device was powerful enough to do the trick or whether the painting should travel to a more a powerful synchrotron X-ray source, such as in Hamburg (DESY) or at Brookhaven National Labs in New York.
It comes down to the fact that museums don’t like shipping valuable and fragile art around the world unless it’s absolutely necessary.
Enter intern Andrea Sartorius (who I momentarily hoped was a descendent of the 17th century Croatian weight-loss fanatic & innovator, Sanctorius Sanctorius. Sadly the names are not quite the same.)
Anyway, Sartorius painted a copy of the original Rembrandt using the same kind of pigments and binder that he would have used, and she included another portrait below the military one.
Then the copy was shipped around the world to be analyzed using X-rays from the various synchrotron sources and from the portable device. Turns out it’s worth the trip to more snazzy X-ray sources if you want to see the hidden painting below. The team argues in this paper that transporting the Rembrandt to a synchrotron facility is actually “useful and relevant.”
The paper’s lead researcher, Matthias Alfred, praised the mock-up: “It is the first time that a painting was reproduced in such an elaborate way for these tests.” It seems that experiments on mock-ups help museum staff decide whether sending expensive art to outside labs for analysis is worth the risk and effort.
And that, my friends, is how a fake Rembrandt can sometimes be a good thing.