In 1995, the Metropolitan Art Museum is a controversial exhibition titled “Rembrandt / Not Rembrandt, “which works as genuine Rembrandt were posted alongside those of his students and admirers. (These tables are often dismissed less than “the school of Rembrandt.”) The point of the exhibition was to reveal the fine line between genius and imitation, authenticity and special effects. One hundred years ago, about 700 works have been attributed to Rembrandt. In the 20th Century, the number fell by 50 percent, as critics and historians began for these telltale signs th
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