'Technical evidence about the maker of a painting is almost never a smoking gun'

In a fascinating exploration of art authentication, NRC Handelsblad delves into the doctoral research of Charlotte Rulkens, who is challenging conventional methods of attributing paintings. Rulkens, a former curator at The Mauritshuis, has undertaken a rigorous study, replicating and scrutinizing the research behind the attribution of two Rembrandts and a Rubens. Her work questions the certainty with which such attributions are often made, emphasizing that "technical evidence about the maker of a painting is almost never a smoking gun."

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Technical evidence about the maker of a painting is almost never a smoking gun.

Rulkens' approach is rooted in the scientific principle of replication, a common practice in the natural sciences but less so in art history. By systematically repeating studies, she aims to increase confidence in the results. Her dissertation focuses on two Rembrandt portraits, one from The Mauritshuis and another from the Germanisches Nationalmuseum in Nuremberg. Historically, the attribution of these works has been debated, with initial assumptions later reversed. Rulkens' investigation seeks to understand the "group process" and individual contributions of experts involved in these past decisions, revealing the complexities and potential biases inherent in art historical scholarship.

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Oh, my favorite painting?

From a Dutch perspective, this research is particularly relevant given the Netherlands' rich artistic heritage, especially its Golden Age masters like Rembrandt and Vermeer. The Mauritshuis, in particular, houses a significant collection, and the ongoing debates surrounding the authenticity of certain works highlight the importance of rigorous, transparent research. Rulkens' emphasis on collaboration and transparency in art attribution research is a call for a more robust and verifiable methodology, moving beyond subjective expert opinions to a more evidence-based approach. Her personal favorite, Carel Fabritius's "The Goldfinch," exemplifies the delicate balance between artistic mastery and the scientific scrutiny required to understand its creation.

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I really love The Goldfinch by Carel Fabritius. I think it's a very beautiful example of how nature is captured literally and figuratively in a small painting.

What makes Rulkens' work uniquely interesting is its potential to reshape how art history is studied and how masterpieces are authenticated. By applying a more systematic, replicable methodology, she is pushing the boundaries of traditional art historical research. Her findings could lead to a more objective understanding of artistic provenance and potentially alter the perceived value and history of significant artworks. This meticulous approach, while perhaps less dramatic than a detective uncovering a forgery, is crucial for preserving the integrity of art history and ensuring that our appreciation of these masterpieces is based on sound, verifiable evidence.

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We replicated research from the past, which is very normal in the beta sciences. The idea is that if you get the same results, you are more certain of those results. But replication as a research method, the systematic repetition of a study, is not common in art history.