博物館的倫勃朗仿制品原來是真品

博物館的倫勃朗仿制品原來是真品

Thanks to modern technology and some expert detective work, a nearly 400-year-old painting that had long been attributed to an unknown artist in Rembrandt’s workshop has now been judged to have been a work of the Dutch master himself.

多虧了現(xiàn)代科技和一些專業(yè)的偵探工作，倫勃朗畫室里一幅有近400年歷史、長期被認(rèn)為出自一位無名藝術(shù)家之手的畫作，現(xiàn)在被鑒定為是這位荷蘭大師本人的作品。

For decades, the Allentown Art Museum displayed an oil-on-oak panel painting called “Portrait of a Young Woman” and credited it to “Studio of Rembrandt.” Two years ago, the painting was sent to New York University for conservation and cleaning.

幾十年來，艾倫頓藝術(shù)博物館(Allentown Art Museum)展出了的一幅名為《年輕女子肖像》(Portrait of a Young Woman)掛在橡木板上的油畫，署名“倫勃朗的畫室”。兩年前，這幅畫被送到紐約大學(xué)保存和清洗。

There, conservators began removing layers of overpainting and dark, thick varnish that had been added over centuries — and they began to suspect Rembrandt himself was responsible for the original, delicate brushwork underneath.

在那里，文物保護(hù)人員開始移除幾世紀(jì)以來添加的過多的油漆和深色的厚漆層——他們開始懷疑倫勃朗本人要對下面原始的精致的筆觸負(fù)責(zé)。

“Our painting had numerous layers of varnish and that really obscured what you could see of the original brushwork, as well as the original color,” said Elaine Mehalakes, vice president of curatorial affairs at the Allentown Art Museum.

阿倫敦藝術(shù)博物館(Allentown Art Museum)負(fù)責(zé)策展事務(wù)的副總裁伊萊恩·邁哈雷斯(Elaine Mehalakes)說，“我們的畫上有很多層清漆，這真的讓你看不清原來的筆法和顏色。”

Conservators used a variety of tools, including X-ray, infrared and electron microscopy, to bolster the case that it was the work of one of the most important and revered artists in history.

文物保護(hù)人員使用了各種工具，包括x射線、紅外線和電子顯微鏡，來證實(shí)這是歷史上最重要、最受尊敬的藝術(shù)家之一的作品。

The scientific analysis “showed brushwork, and a liveliness to that brushwork, that is quite consistent with other works by Rembrandt,” said Shan Kuang, a conservator at New York University’s Institute of Fine Arts who restored “Portrait of a Young Woman.”

紐約大學(xué)美術(shù)學(xué)院(New York University 's Institute of Fine Arts)修復(fù)“一位年輕女子的肖像”的管理員Shan Kuang說，科學(xué)分析“顯示，這幅畫的畫風(fēng)，以及這種畫風(fēng)的活潑，與倫勃朗的其他作品非常一致。”

Outside experts who examined the 1632 painting after the completion of its two-year restoration concurred with the NYU assessment that it’s an authentic Rembrandt.

經(jīng)過兩年的修復(fù)后，外部專家對這幅1632年的畫作進(jìn)行了研究，他們認(rèn)為這幅畫是倫勃朗的真跡。

“We’re very thrilled and excited,” Mehalakes said. “The painting has this incredible glow to it now that it just didn’t have before. You can really connect with the portrait in the way I think the artist meant you to.”

“我們非常激動和興奮，”Mehalakes說。“這幅畫現(xiàn)在有一種令人難以置信的光彩，這是它以前所沒有的。你可以真正地以我認(rèn)為藝術(shù)家想讓你去的方式與這幅畫像聯(lián)系起來。”

When “Portrait of a Young Woman” was bequeathed to the museum in 1961, it was considered to be a Rembrandt. About a decade later, a group of experts determined that it had been painted by one of his assistants. Such changes in attribution are not unusual: Over the centuries, as many as 688 and as few as 265 paintings have been credited to the artist, according to Mehalakes.

1961年《一個年輕女人的肖像》被遺贈給博物館時，被認(rèn)定是倫勃朗的作品。大約十年后，一組專家斷定這幅畫是他的一位助手畫的。這種歸屬上的改變并不罕見:據(jù)Mehalakes說，在過去的幾個世紀(jì)里，多達(dá)688幅、只有265幅畫被認(rèn)為是這位藝術(shù)家的作品。

The museum has not had the painting appraised — and has no intention of selling it — but authenticated works by Rembrandt have fetched tens of millions of dollars.

博物館還沒有對這幅畫進(jìn)行估價，也沒有出售的打算，但倫勃朗的真跡已經(jīng)賣出了數(shù)千萬美元。

The painting, currently in the museum’s vault, will go on public display starting June 7.

這幅畫目前存放在博物館的保險(xiǎn)庫里，將于6月7日開始公開展出。