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The image appears to be a page from a newspaper. The article is titled "3 Hartford 'Rembrandts' Aren’t His, Panel Rules," which suggests it is discussing the attribution of three paintings previously attributed to Rembrandt van Rijn. The article is written by Edith Evans Asbury and includes details about a team of researchers at Yale University who have reattributed these paintings based on their analysis.

The newspaper clipping is pasted onto a piece of brown paper, which has a hole punch on the left side, indicating it may have been part of a folder or a collection of similar articles. The background is a neutral gray, and the overall appearance suggests it might be a scanned or digitized image of an old document.

The image shows a document that appears to be a newspaper clipping mounted on a sheet of brown paper, possibly for archival purposes. The clipping is from "The New York Times," dated Friday, January 27, 1978. The headline reads: "3 Hartford 'Rembrandts' Aren't His, Panel Rules." The article, written by Edith Evans Asbury, discusses the reevaluation of three paintings previously attributed to Rembrandt, which a panel of researchers from Yale University has determined were not actually painted by Rembrandt himself but by other painters under his influence.

The article provides details about the three paintings, which are part of a collection owned by the Wadsworth Atheneum in Hartford, Connecticut. It mentions that the paintings were reattributed after a three-year study, and it discusses the basis of the panel's decisions, which were made by comparing the paintings with undisputed works by Rembrandt. The article also includes comments from Peter Marlowe, the chief curator of the Atheneum, and Charles C. Cunningham, an authority on Dutch art, who both acknowledge that the reattributions are based on the best professional knowledge available at the time but may not be the final word.

The clipping is taped to the brown paper, which has two holes punched on the left side, suggesting it was part of a binder or folder. The background is a plain, neutral color, likely a table or desk surface.

A piece of paper, probably a newspaper, is attached to a folder with a hole punch on the left side. The newspaper is dated January 27, 1958. It has a headline that reads "3 Hartford Rembrandts Aren't His, Panel Rules." The article is written by Edith Evans Asbury. The article is about the three paintings that are part of a collection of four owned by the Wadsworth Atheneum in Hartford, Connecticut. The paintings were believed to have been done by Rembrandt but were later discovered to be the work of other painters.

The image appears to be a newspaper clipping or article about three paintings that were previously believed to be Rembrandts, but a panel of experts has ruled that they are not his work. The article includes details about the paintings, the researchers who studied them, and the decisions made by the panel. The clipping is mounted on a beige folder with holes on the sides, likely for filing purposes.

The image shows a newspaper clipping or article from The New York Times dated Friday, January 27, 1918. The headline reads:

"3 Hartford 'Rembrandts' Aren't His, Panel Rules"

The article, authored by Edith Evans Asbury, discusses the reclassification of three paintings previously attributed to Rembrandt by a panel of researchers at Yale University. The paintings in question are part of a collection of four owned by the Wadsworth Atheneum in Hartford, Connecticut. The article details the findings of a team led by Mr. Haverkamp-Begeman, a Yale University graduate, who determined that the three paintings—Portrait of a Woman (Sarah de Geer), Portrait of a Young Man, and Landscape With a Cottage—were not actually works by Rembrandt.

The article explains that the reclassification was based on a study conducted by the researchers, who concluded that the paintings were the work of a late 17th-century artist influenced by Rembrandt but not the master himself. The research identified the artist as Samuel Hoogstraten, a contemporary of Rembrandt who was known for imitating his style.

The article also mentions that the reclassification was controversial, with some experts, such as Mr. Marlow, disagreeing with the findings. The panel's decision was made after comparing the paintings with undisputed Rembrandt works and examining certain details. The article notes that the reclassification has sparked debate among art historians and curators, with some expressing skepticism about the panel's conclusions.

The article concludes by stating that the reclassification has reduced the number of authenticated Rembrandt paintings in the world from 630 to 426, according to the chief curator of the Clark Art Institute, Mr. Williamson, who is now retired and living in Massachusetts.

The overall tone of the article is informative, presenting the findings of the panel and highlighting the ongoing debate within the art world regarding the authenticity of the paintings.

The image presents a scanned newspaper clipping, dated January 21, 1918, featuring an article titled "3 Hartford 'Rembrandts' Aren't His, Panel Rules" by Edith Evans Asbury. The article discusses the authenticity of three paintings believed to be by Rembrandt, which were part of a collection owned by the Wadsworth Atheneum in Hartford, Connecticut.

Key Points:

• Title and Author: The article is titled "3 Hartford 'Rembrandts' Aren't His, Panel Rules" and was written by Edith Evans Asbury.
• Date: The article is dated January 21, 1918.
• Content: The article discusses the authenticity of three paintings believed to be by Rembrandt, which were part of a collection owned by the Wadsworth Atheneum in Hartford, Connecticut.
• Panel Rules: The panel rules that the three paintings are not authentic Rembrandts.
• Conclusion: The article concludes that the three paintings are not authentic Rembrandts, as ruled by the panel.

Summary:

The image presents a scanned newspaper clipping from January 21, 1918, featuring an article about the authenticity of three paintings believed to be by Rembrandt. The article discusses the panel's ruling that the three paintings are not authentic Rembrandts, concluding that they are not part of the collection owned by the Wadsworth Atheneum in Hartford, Connecticut.

The image presents a newspaper clipping featuring an article about three paintings attributed to Rembrandt, which are now believed to be the work of other artists. The clipping is attached to a piece of brown paper and includes a date stamp from January 27, 1978.

Article Title: "3 Hartford 'Rembrandts' Aren't His, Panel Rules"

Author: Edith Evans Asbury

Summary:

• Three paintings previously attributed to Rembrandt have been reevaluated by a team of researchers at Yale University.
• The researchers have determined that the paintings are not the work of Rembrandt, but rather the work of other artists.
• The article discusses the process of reevaluation and the reasons behind the decision to remove the paintings from the Rembrandt collection.

Key Points:

• The three paintings in question are part of a collection owned by the Wadsworth Atheneum in Hartford, Connecticut.
• The researchers used a variety of techniques, including X-ray analysis and stylistic comparison, to determine the authenticity of the paintings.
• The decision to remove the paintings from the Rembrandt collection has sparked controversy among art historians and collectors.

Conclusion:

The article provides insight into the process of reevaluating artworks and the challenges involved in determining their authenticity. The decision to remove the paintings from the Rembrandt collection highlights the importance of ongoing research and evaluation in the field of art history.

The image depicts a newspaper clipping affixed to a sheet of paper, which is set against a gray background.

Newspaper Clipping:

• The clipping is titled "3 Hartford 'Rembrandts' Aren't His, Panel Rules" and features an article by Edith Evans Asbury.
• The article discusses the reattribution of three paintings previously believed to be the work of Rembrandt van Rijn, a Dutch Master painter.
• The paintings are part of a collection at the Wadsworth Atheneum in Hartford, Connecticut.
• A panel of experts has determined that the paintings are not authentic Rembrandts, but rather the work of other artists influenced by his style.

Sheet of Paper:

• The sheet of paper is beige in color and has two holes punched along its left edge, suggesting that it was once part of a binder or folder.
• A small piece of tape is visible at the top of the page, holding the newspaper clipping in place.
• A handwritten note is partially visible on the tape, but it is not legible.

Background:

• The background of the image is a solid gray color, providing a neutral backdrop for the newspaper clipping and sheet of paper.

Overall, the image appears to be a scanned or photographed copy of a newspaper article from an unknown date, preserved on a sheet of paper for archival purposes.

The image presents a scanned or photographed page from a binder, featuring a newspaper clipping about art. The page is composed of a light-brown paper with two holes punched on the left side, indicating its origin from a binder.

• Newspaper Clipping:
  • The clipping is titled "3 Hartford 'Rembrandts' Aren't His, Panel Rules" and is attributed to Edith Evans Asbury.
  • The article discusses the reattribution of three paintings previously believed to be by Rembrandt, which are part of the collection at the Wadsworth Atheneum in Hartford, Connecticut.
  • The paintings in question are:
    • "Portrait of a Man (Trinus)"
    • "Portrait of a Woman (Saskia?)"
    • "Landscape with an Obelisk"
  • The article states that after a two-year study of the paintings under the direction of Egbert Haverkamp-Begemann, researchers concluded that "Portrait of a Woman" was not by Rembrandt but by a later imitator of his style.
  • The article also mentions that the reclassifications of the three paintings are part of a continuing re-evaluation of the Atheneum's collection that has intensified since the appointment of Dr. Egbert Haverkamp-Begemann as the museum's director in 1966.
• Page Details:
  • The page has a light-brown color and features two holes punched on the left side.
  • A small piece of tape is visible at the top of the page, holding a strip of paper with handwritten text that is not legible.
  • The background of the image is a solid gray color.

In summary, the image shows a newspaper clipping about the reattribution of three paintings previously believed to be by Rembrandt, which are part of the collection at the Wadsworth Atheneum in Hartford, Connecticut. The clipping is attached to a light-brown page with two holes punched on the left side, indicating its origin from a binder.

The image shows a newspaper clipping attached to a piece of brown cardboard, which appears to be part of a scrapbook or binder. The clipping is from the New York Times, dated January 27, 1968. The headline of the article reads, "3 Hartford 'Rembrandts' Aren't His, Panel Rules." The article is written by Edith Evans Asbury.

The article discusses the findings of a panel of experts who determined that three paintings previously believed to be by the famous Dutch artist Rembrandt were not actually painted by him. The paintings are part of a collection of four Rembrandts in Hartford, Connecticut, and include "Portrait of a Young Man" (1667), "Portrait of a Woman" (1665), and "Portrait of a Woman" (1632). The fourth painting, "The Scholar," was not examined by the panel.

The panel, headed by Horst Gerson, concluded that these paintings were likely the work of Rembrandt's pupils or followers. The article mentions that the paintings will be featured in an unpublished catalogue of Rembrandt's works and that the findings will be published in a two-volume series on the artist. The decision was based on comparisons with authenticated Rembrandt paintings and consideration of style, brush strokes, and pigment.

The article also includes comments from various experts and curators, such as Mr. Marvin and Mr. Gerson, who provide additional context and insights into the authenticity of the paintings. The clipping is slightly torn on the right side, and the text is partially obscured.