Attribution problems for the painting began when the art historian Horst Gerson questioned itsauthorship. He suggested that it was the work of one of the master's pupils because “thepainterly execution is superficial and inconsistent and because he did not “recognizeRembrandt's touch in it.
这幅作品的真伪问题,最先是由艺术史家霍斯特·格尔森(Horst Gerson)提出的。他认为,这是伦勃朗的一名学生的作品,因为它‘画得没有深度,缺乏一致性,而且他没有“从中看出伦勃朗的特点。
The Mauritshuis accepted Gerson's decision, and changed the wall label.
莫瑞泰斯接受了格尔森的结论,更换了墙上的标签。
Then, in 2007, the museum began its own investigation.
2007年,该美术馆开始自行展开调查。
Emilie Gordenker, the director of the Mauritshuis, said that new scientific data gleaned frompaint sample analysis and a new X-ray technique allowed restorers to look beneath theoverpainted surface and gain fresh perspective on aspects of the painting that had beenobscured by damage and previous restorations.
莫瑞泰斯的馆长艾米丽·戈登科(Emilie Gordenker)说,借助颜料样品分析和一种新的X射线技术,他们获得了新的科学数据,这使修复者可以看到表面下被修改前的状况,对于破损和之前的修复工作所掩盖的部分,他们获得了新的视角。
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