The fact that he has been dead for more than three and a half centuries does not prevent him from Rembrandt Harmenszoon van Rijnone of the great geniuses of baroque painting, continue to surprise historians. And in the most unexpected ways. In 2014, one of his youthful works appeared by surprise at an auction held in Cologne. Now, with your attribution already confirmedthe experts in charge of cleaning the canvas have had another surprise: under a subsequent layer of paint they have discovered a man with dark skin, a black beard and a large turban.
It was once painted by Rembrandt himself, but someone decided to retouch the figure to turn it into a venerable old man with a white, wrinkled face, gray beard, and a traditional Dutch cap. The question is obvious: Why?
Isn’t that a Rembrandt? The painting Let the children come to me It was probably painted around 1627, when Rembrandt was 21 years old. However, it did not rise to fame until almost 400 years later, well into the 21st century. To be more precise, we must go back to May 2014, when the canvas was included in an auction held in Cologne with a fuzzy business card.
Its owners presented it as a piece of the “Dutch school” dating back to the mid-17th century and sold it for 1.5 million euros. It was a good pinch, but it ended in pocket change when some time later it was confirmed that in reality that anonymous 125 x 109 cm canvas (with frame) was neither more nor less than a work from Rembrandt’s youth. Recently Sotheby’s he put it up for auction again with an estimated value of between 9.3 and 14 million of euros.
The work before the restoration, with the added modifications.
And the (other) surprise arrived. Such a record would have been enough to give the painting a prominent place in Rembrandt’s legacy. Recently, however, Sotheby’s revealed that the canvas hid another secret. What we have seen so far was not exactly what the Leiden artist painted, but rather a version adulterated by a hand less skilled with brushes, a contemporary artist by Rembrandt. There are those who even have a name: Claes Cornelisz Moeyaert.
Given that experts believe that the Dutch painter left the work “partially unfinished”, working hard on the upper part of the painting and sketching the lower part, it is understandable that someone would want to finish it. The intriguing thing is that in doing so that anonymous hand did not simply follow Rembrandt’s design.
In addition to finishing the canvas, he repainted it, erasing, adding and modifying it to taste. We know this because in recent years technicians have studied the work with X-rays and have dedicated themselves to carefully eliminating overlapping layers.
Does things change that much? Yes. It comes with taking a look at the photos that were released on the day of the painting and those disclosed by Sotheby’s following the last auction to prove it. The motif of the painting is the same: the biblical scene, collected in the Gospels of Mark, Matthew and Lucasin which Jesus uttered his famous phrase: “Let the children come to me.” If we look closely, however, differences can be seen between its status in 2014 and 2026.
The elimination of the repaintings changes the color, has made some figures emerge and eliminated others. A boy in the foreground who was wearing an ocher suit now looks how Rebrandt must have seen him, with his back bare. However the most powerful alteration It is another: we now know that one of the central figures in the scene was a dark-skinned man with a turban who the artist who retouched the work completely modified, turning him into a venerable old man.
For some unknown reason, the original exotic turban ended up becoming a red Dutch hat and the black beard became a long, gray beard.
The work already restored and as presented by Sotheby’s.
More than a detail. That detail has attracted attention of media from half the planet. And it’s normal. There are those who believe that if Rembrandt initially opted for a man with a turban, surely Muslim, it was not for an aesthetic reason. He wanted to capture what he saw in part in his own country in the 17th century, a multicultural environment, marked by religious rivalries, the coming and going of thousands of refugees and the social tensions that this generated in the streets.
As remember historian Andrew Graham-Dixon, “in 1627, when Rembrandt began the painting, Leiden was going through a humanitarian crisis.” “The Thirty Years’ War was at its peak and hundreds of thousands of people arrived as refugees in the Dutch Republic,” he adds. It is estimated that in 1626 alone approximately 10,000 refugees arrived in Leiden.
…and more than paint. Was that context transferred to Rembrandt’s canvas? Did you want to capture the spirit of what you saw on the streets of your city, the position that in your opinion should be maintained towards refugees arriving from other places?
“It depicted a mass scene of Christ welcoming children and families. It was very controversial at the time. There were people in Leiden who did not want to receive them,” Graham-Dixon abounds. “What we gather is that Rembrandt was on the side of humanitarian aid. So I think this is more than just a painting. It’s a statement of his moral stance.” The truth is that in the work we see a crowd in which religion is represented. Jewish and Christian.
“It looks familiar”. The figure wearing a turban is not the only surprise. Experts have identified in it a self-portrait of Rembrandt himself, who represented himself at the top, as a young man who appears to be looking at the scene perched on a pillar, although in reality he is looking at us.
“His physiognomy is familiar to us thanks to the numerous painted self-portraits, drawings and engravings that he made over 40 years. During his time in Leiden alone he made no less than 14 different ones,” they point out Sotheby’s experts.
A family portrait? Not only that. The Dutchman also used to resort to models from his own family, something that seems to have also been applied in Let the children come to me. The experts believe having identified a portrait of his mother and father, as well as other members of his close family circle.
“In no other image does Rembrandt bring his family together so completely,” slide the experts. The reason? a theory shared by the auction house, is that since the painter had just returned to Leiden after training in Amsterdam with the renowned Pieter Lastamn (1583–1633), wanted to show his parents that the money invested in his training had been worth it.
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