He Rijksmuseumone of the most famous museums in the capital of the Netherlands, confirmed this March 2 that «The Vision of Zechariah in the Temple» (1633) is an original work by Rembrandt. The news came after a technical investigation that lasted two years, and which further recognized the Dutchman’s legacy.
The scene, painted by Rembrandt shortly after moving from Leiden to Amsterdam, represents the moment when the high priest Zechariah receives the announcement from the archangel Gabriel in the temple. In this he is informed that, despite his advanced age and that of his wife, he will have a son, who will be none other than John the Baptist.
«Rembrandt was the first Dutch artist to paint this subject. It is a historical paintingbiblical theme«he explained Jonathan Bickercurator of the aforementioned Amsterdam museum, to the Spanish news agency EFE.
At the same time, the cultural heritage specialist left no room for doubt: he assured that the technical analysis of materials, similarities in style and theme, and quality support the conclusion that is a authentic work of Rembrandt. And the public will be able to appreciate it starting March 4, reported the French agency. AFP.
Unlike the engravings of 16th century on which it was based, the painter does not represent the angel visiblybut suggests its presence through a light that emerges from the incense smoke.
Zechariah’s gesture of astonishment and disbelief marks the moment before his punishment: being left mute for doubting the divine message.
How was the investigation
The work, which belongs to a private collector and will be on long-term loan to the museum, was analyzed with advanced techniques similar to those used in Operation «Night Watch», the study and restoration project of Rembrandt’s famous canvas.
According to Bikker, the first impression when seeing The image «immediately» evoked other works by Rembrandt of that same period.
The investigation process began in 2023, when the owner sent a digital photograph to the museum to request their opinion. Previously, the painting had been distributed for the first time in 1960 and then assigned to artists close to Rembrandt, such as Salomon Koninck or Jan Lievens.
The father of the current owner had acquired it in 1961 like a Rembrandt, but since then had not been examined in depth againso the museum managed to have the painting transferred to Amsterdam for study.
The investigation began with a detailed analysisincluding stereoscopic microscope examination. It was later applied dendrochronologya technique that allows dating wooden panels.
Finally, the study determined that The support could have been used between 1625 and 1644a margin compatible with the date of 1633 inscribed on the painting.
The analysis of materials reinforced this hypothesis, since the preparation layer matches that used by Rembrandt in other works of the time.
For their part, the pigments (examined with macro-XRF) were characteristic of the artist in those years. «All the materials fit with what we know of his practice in that period,» Bikker reported without hiding his joy.
The age at which Rembrandt made the work
The painting was also compared to another version of the same composition kept in Berlin, since for decades it was maintained that both paintings were copies of a lost original.
However, radiographs and infrared reflectography studies revealed changes in the composition of the work now attributed to Rembrandt, such as modifications to Zacarías’ costume and in the form of a golden censer placed on a table.
These alterations, invisible in a mechanical copy, were replicated in the version in Berlin, which suggested that it depends on the painting studied in Amsterdam.
Furthermore, a drawing preserved in the Louvre shows the censer in its initial form, which indicates that it was made in the workshop while Rembrandt was working on the composition.
The loose application of the paint, the thick fillings in the highlights and the treatment of Zacarías’s face also They resemble other early works by the Dutch mastersuch as «Daniel and King Cyrus before the idol Bel» (1633) or «Jeremiah lamenting the destruction of Jerusalem» (1630).
The fact that it was made on board and not on canvas allowed it to keep the original fillings intact, without having been flattened by relining processes.
This work expands knowledge about the early production of Rembrandt -he was then about 27 years old- and about his interest in visions and revelationsa theme he addressed in other paintings and prints.
In a period when Rembrandt focused primarily on more profitable portraits, biblical scenes were less frequent.
For the Rijksmuseum, painting not only enriches the artist’s catalogue, but also offers new information about your technique and his way of constructing visual stories at the beginning of his career in Amsterdam.
With information from agencies.
