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Fogg Museum Exhibit

Alan Burroughs Proves Rembrandt's Celebrated 'Self-Portrait' Genuine

By JOHN E. PEMBER

Not long ago, the authenticity of the famous 'Self-Portrait' by Rembrandt, one of the treasured prizes of the Metropolitan Museum of Art, was disputed by Dr. Max Friedlander, a well-known art critic. The picture was painted when the Dutch master was at the height of his powers, and its authenticity was confirmed by the Fogg Museum, expert of the Fogg Museum at Harvard University, who made a study of the picture with the aid of the X-ray. The picture is now on exhibition at the Fogg Museum.

Art critics have long been puzzled by the fact that the picture, which is a self-portrait, shows Rembrandt with a hat, while in other portraits he is shown without one. The X-ray, however, revealed that the hat was not originally part of the picture. It was added later, probably by the artist himself.

The X-ray also showed that the picture had been painted on a panel which had been used before. The under-painting, which was also by Rembrandt, showed through in places, and this accounts for the fact that the picture has always been considered one of the finest examples of the master's work.

The Fogg Museum has also been able to throw light on the much-debated question of the 'Self-Portrait' in the Louvre. The X-ray of this picture, which was also made at the Fogg Museum, shows that the head is not by Rembrandt, but by another hand. The X-ray also shows that the picture has been much restored.

The Fogg Museum has also been able to confirm the authenticity of the 'Self-Portrait' in the National Gallery in London. The X-ray of this picture shows that the head is by Rembrandt, and that the picture has not been much restored.

The Fogg Museum has also been able to throw light on the much-debated question of the 'Self-Portrait' in the Louvre. The X-ray of this picture, which was also made at the Fogg Museum, shows that the head is not by Rembrandt, but by another hand. The X-ray also shows that the picture has been much restored.

The Fogg Museum has also been able to confirm the authenticity of the 'Self-Portrait' in the National Gallery in London. The X-ray of this picture shows that the head is by Rembrandt, and that the picture has not been much restored.

The Fogg Museum has also been able to throw light on the much-debated question of the 'Self-Portrait' in the Louvre. The X-ray of this picture, which was also made at the Fogg Museum, shows that the head is not by Rembrandt, but by another hand. The X-ray also shows that the picture has been much restored.

The Fogg Museum has also been able to confirm the authenticity of the 'Self-Portrait' in the National Gallery in London. The X-ray of this picture shows that the head is by Rembrandt, and that the picture has not been much restored.

The image shows a newspaper article from the Fogg Museum, dated April 22. The headline reads "Fogg Museum Expert Proves Rembrandt's Celebrated 'Self-Portrait' Genuine." The article is titled "Alan Burroughs Proves Rembrandt's Authenticity," written by John E. Penber.

The main content discusses a study by Alan Burroughs, an expert from the Fogg Museum, who used X-ray technology to examine a famous painting by Rembrandt, titled "Self-Portrait." The X-ray analysis revealed that the painting had been altered and was not the original work but a copy, suggesting it was painted by another artist, likely Dirk Bout, a Flemish painter.

Key points from the article include:

• The authenticity of Rembrandt's famous "Self-Portrait" was questioned.
• The X-ray examination revealed alterations made to the painting.
• The X-rays showed brush strokes and layers indicating that the painting was not the original Rembrandt.
• The X-rays also provided insight into Rembrandt’s working methods and techniques.

The article highlights the use of technology in art conservation and authentication, showcasing how X-rays can provide critical insights into the history and authenticity of artworks.

The image is a newspaper clipping from April 26, featuring an article titled "Fogg Museum Exp." by John E. Pember, which discusses the authentication of a Rembrandt painting.

The article, titled "Alan Burroughs Proves Rembrandt's Celebrated 'Self-Portrait' Genuine," recounts how Alan Burroughs, a chemist at the Fogg Museum, used X-rays to confirm the authenticity of Rembrandt's "Self-Portrait." The portrait had been questioned by Dr. Maximilian Toch, a renowned chemist and professor of artistic painting at the Massachusetts Institute of Technology.

Key points include:

1. Discovery and Analysis:

   • The portrait was acquired by the Metropolitan Museum of Art for $100,000.
   • Burroughs used X-rays to reveal hidden details and confirm the portrait's authenticity.
   • The X-ray revealed that Rembrandt had altered the portrait multiple times, including changes to the background, hair, and other features.

2. Technique:

   • Burroughs explained that X-rays can reveal underdrawings, changes made by the artist, and the artist's techniques.
   • He described how the X-ray showed that Rembrandt had painted over a previously altered area, adding that the X-ray reveals the artist's process, including corrections and adjustments.

3. Findings:

   • The X-ray showed that Rembrandt had initially painted a different background and hairline, which were later altered.
   • These findings were significant because they provided evidence of the artist's working methods and confirmed the portrait's authenticity.

4. Revelations:

   • The X-ray revealed that Rembrandt had initially painted a different hairstyle and background, which he later altered.
   • The portrait is now considered genuine based on these discoveries.

The article includes illustrations and photographs that help to visualize the findings, showing the differences between the original and altered parts of the painting.

The image is a newspaper clipping from April 22, detailing an article titled "Fogg Museum Expert Proves Rembrandt's Celebrated 'Self-Portrait' Genuine." The author of the article is John E. Pembroke.

The article discusses how Alan Burroughs, an expert from the Fogg Museum at Harvard, used X-ray technology to confirm the authenticity of Rembrandt's "Self-Portrait." Previously, the painting's authenticity had been questioned due to its seemingly altered brush strokes and composition.

Key points include:

• The X-ray revealed that Rembrandt had repainted parts of the portrait, changing his appearance and adding new elements.
• The X-ray showed the initial composition of the painting, including a different hairstyle and facial features.
• Burroughs noted that Rembrandt had altered the portrait to make himself look younger, which was a common practice among artists of the time.
• The article mentions that the X-ray also revealed the artist's technique, such as the use of different brush strokes and the layering of paint.

The clipping includes a detailed description of the X-ray findings and how they substantiated the painting's authenticity, providing new insights into Rembrandt's artistic process and his methods of self-representation. The X-ray technique allowed Burroughs to see beneath the surface layers of paint, confirming the true value and authenticity of the artwork.

The image is a newspaper clipping from the Herald, dated April 26, 1931. The headline reads, "Fogg Museum Experts: Alan Burroughs Proves Rembrandt's Celebrated 'Self-Portrait' Genuine."

The article, written by John E. Pember, discusses how the authenticity of Rembrandt’s "Self-Portrait" at the Fogg Museum of Art was confirmed through advanced scientific methods.

Key points include:

1. Initial Doubts and Investigation:

   • The authenticity of the painting had been questioned for some time.
   • Alan Burroughs, an expert from the Fogg Museum, used X-ray technology to examine the painting.

2. X-ray Analysis:

   • The X-ray revealed that the painting initially started as a portrait of an old man, which was later altered by Rembrandt to become his self-portrait.
   • This discovery was significant because the underlying features matched Rembrandt’s known artistic methods and personal style.

3. Scientific Techniques:

   • The article explains how X-ray technology can penetrate layers of paint, revealing earlier stages of the artwork.
   • The use of X-rays helped to confirm the authenticity by showing the artist's changes and thought processes.

4. Art Critic and Expert Opinions:

   • The article mentions that art critics have been skeptical of the authenticity of many purported Rembrandt works.
   • The X-ray findings provided definitive proof, with experts like Dirk Bout and Alan Burroughs agreeing on the painting’s legitimacy.

5. Historical Context:

   • Burroughs’ method involved comparing the X-ray results with other verified works by Rembrandt.
   • The article details how the "shadowy" underpainting and changes made by the artist are characteristic of Rembrandt's technique.

6. Conclusion:

   • The article concludes that the painting is indeed a genuine Rembrandt self-portrait, supported by scientific evidence and expert analysis.

Overall, the piece highlights the intersection of art history and scientific technology in verifying the authenticity of classic artworks.

The image is a newspaper clipping from the Herald, dated April 21, 1931. The headline reads "Fogg Museum Expert Alan Burroughs Proves Rembrandt's Celebrated 'Self-Portrait' Genuine." The article is written by John E. Pemmer.

Key points from the article include:

1. Authenticity of Rembrandt's Self-Portrait: The authenticity of Rembrandt's self-portrait, which was sold to the Metropolitan Museum of Art, New York, for a large sum, was questioned. The painting was subjected to X-ray examination by Alan Burroughs, an expert from the Fogg Museum of Art at Harvard.

2. X-ray Examination: The X-ray revealed that the painting was indeed an authentic Rembrandt. The examination showed that Rembrandt had made significant changes to the painting, including alterations to the hat and the position of the head.

3. Discovery of Autograph: The X-ray also detected an autograph of the painter, which was previously unknown. This autograph, along with the changes made to the painting, confirmed its authenticity.

4. Artistic Technique: The article discusses Rembrandt's technique, noting that he often made changes to his paintings, which were visible under X-ray examination. This included alterations to the position of the head and the hat, as well as the addition of a background.

5. Expert Opinion: Alan Burroughs, the expert, explained that the X-ray findings provided conclusive evidence of the painting's authenticity. He noted that Rembrandt's characteristic style and technique were evident in the painting.

6. Historical Context: The article mentions that the painting was acquired by the Metropolitan Museum of Art from the estate of the Flemish artist Dick Bouma. The painting had been split into two parts and later rejoined, which added to the complexity of its authentication.

Overall, the article highlights the use of X-ray technology in authenticating artworks and provides detailed insights into Rembrandt's artistic process.

The image displays a scanned newspaper clipping mounted on a piece of paper with three holes punched along its right edge, suggesting it was once stored in a binder or folder. The clipping is from the "Herald" dated April 2nd, 1921, as indicated by the handwritten note at the top and the printed header on the paper. The main headline reads "Fogg Museum Expert," followed by the subheading "Alan Burroughs Proves Rembrandt's Celebrated 'Self-Portrait' Genuine."

The article describes the analysis and authentication of a self-portrait by Rembrandt, conducted by Alan Burroughs at the Fogg Museum. It discusses the use of X-ray technology as a tool for authenticating the painting and the value of new approaches for examining artworks. Some terms like "autoradiograph" and "metallochromy" are mentioned, indicating a technical discussion on art examination methods. There are a few minor tears and creases in the newspaper, as well as discoloration due to age.

The scanning of the document captured the entire context of its physical condition and historical presentation, which indicates it is likely part of an archive or a collection related to art history, museum studies, or Rembrandt's works.

The image is of a newspaper article titled "Fogg Museum Experts," published in the Herald on April 26, 1931. The article is about Alan Burroughs and his work proving the authenticity of Rembrandt's celebrated self-portrait using the method of X-ray analysis. The article consists of several columns of text discussing the findings and implications of art authentication through X-ray technology, with a focus on distinguishing genuine artworks from forgeries. The newspaper page is slightly yellowed and is mounted on a paper with holes likely indicating it is part of a larger collection or a binder. Writing in pencil is visible at the top, indicating the date and source of the article.

The image shows a newspaper clipping mounted on a white page with three hole punches along the right side. The clipping is yellowed with age and consists of an article with the headline "Fogg Museum Expe" prominently displayed at the top, indicating that the full headline is likely "Fogg Museum Experts" or similar. Beneath the headline, a subheading reads, "Alan Burroughs Proves Rembrandt's Celebrated 'Self-Portrait' Genuine." The article is authored by John E. Pember and details the authentication of a famous Rembrandt self-portrait at the Metropolitan Museum of Art, New York.

The text discusses the use of X-ray technology to detect forgeries and verify the authenticity of paintings, highlighting Alan Burroughs of the Fogg Museum at Harvard College and his expertise. Several paragraphs are arranged across the clipping, and a block of text in the center emphasizes art critics' use of X-rays to analyze paintings, including the discovery of a split painting by the Flemish artist Dirk Bouts and the revelation of Lanaciano’s painting methods.

Handwritten notes at the top of the page read "Apr. 3" in the top left corner and "Herald April 26, 1931" above the clipping, suggesting the date and source of the article. The clipping is mounted flat on the page, and the overall appearance suggests it is part of a scrapbook or archival collection.

Description of the Image:

The image shows a scanned page from a newspaper dated April 26, 1931, titled "Herald". The page features an article titled "Fogg Museum Expe", which appears to be part of a larger article about an exhibition or investigation at the Fogg Museum. The visible portion of the article focuses on Alan Burroughs, an expert who has proven the authenticity of Rembrandt’s celebrated "Self-Portrait."

Key Elements of the Article:

1. Headline and Subheading:

   • The main headline reads: "Fogg Museum Expe", indicating that the article is about an exhibition or experiment at the Fogg Museum.
   • The subheading states: "Alan Burroughs Proves Rembrandt’s Celebrated 'Self-Portrait' Genuine", highlighting the central claim of the article.

2. Byline:

   • The article is authored by John E. Pember.

3. Content Summary:

   • The article discusses the authenticity debate surrounding Rembrandt’s "Self-Portrait", which was long considered a genuine work but had faced skepticism.
   • Alan Burroughs, described as a well-known chemist and professor at the University of Michigan, conducted an investigation to confirm the painting’s authenticity.
   • Burroughs used X-ray analysis to examine the painting, revealing layers of paint, brushstrokes, and underlying structures that matched Rembrandt’s known style and techniques.
   • The article emphasizes that the X-ray revealed:
     • Rembrandt’s characteristic brushwork, including small, fine strokes and the use of light and shadow.
     • Evidence of the artist’s process, such as the use of a black underpainting and the application of glazes.
     • The artist’s hand and signature, which were consistent with Rembrandt’s known style.
   • The X-ray also showed that the painting had undergone minimal restoration, with only minor repairs to areas of damage.

4. Quotes and Expert Opinions:

   • The article includes quotes from Alan Burroughs, who explains the significance of the findings:
     • "Look at that portrait (pointing to the X-ray)... It shows a Rembrandt portrait on the face."
     • Burroughs describes how the X-ray revealed Rembrandt’s “self-portrait” and “the continuity of the successive pictures”, confirming the artist’s hand.
   • The article also references art critics who had previously questioned the authenticity of the painting, noting that the X-ray analysis resolved their doubts.

5. Visual and Technical Details:

   • The article mentions that the X-ray was taken at the Fogg Museum’s small apartment, where Burroughs had access to the painting for close examination.
   • The X-ray revealed layers of paint, brushstrokes, and underlying structures that were invisible to the naked eye.
   • The article highlights the scientific method used by Burroughs, emphasizing the importance of objective analysis in confirming the painting’s authenticity.

6. Context and Significance:

   • The article places the discovery in the context of art authentication, noting that the "Self-Portrait" had been disputed for years and that Burroughs’s findings resolved the controversy.
   • The use of X-ray technology is presented as a groundbreaking method for verifying the authenticity of artworks, showcasing the intersection of science and art.

7. Layout and Design:

   • The article is formatted in a traditional newspaper style, with a clear headline, byline, and structured paragraphs.
   • The text is typed in a serif font, typical of newspapers from the early 20th century.
   • The page includes columnar text layout, with the article occupying the left column and additional text visible in the right column, suggesting the article continues on the next page.

Overall Impression:

The image captures a historical moment in art authentication, showcasing the use of scientific methods (X-ray analysis) to resolve a long-standing debate about the authenticity of a famous artwork. The article highlights the expertise of Alan Burroughs and the Fogg Museum in leveraging technology to uncover hidden layers of meaning in Rembrandt’s "Self-Portrait." The tone is informative and authoritative, emphasizing the importance of empirical evidence in the study of art.