Attribution Studies
Drost vs. Rembrandt attribution challenges and methodology
The Rembrandt Connection
Drost's proximity to Rembrandt — both chronologically and stylistically — has created one of art history's most persistent attribution challenges. Several works long considered masterpieces by Rembrandt have been reattributed to Drost through careful scholarly analysis, reshaping our understanding of both artists.
Methodology
Modern attribution studies employ a multi-faceted approach combining stylistic analysis, technical examination (X-ray, infrared reflectography, pigment analysis), provenance research, and documentary evidence. The Rembrandt Research Project has been instrumental in developing and standardizing these methodologies. Exhibition catalogs such as "Rembrandt/Not Rembrandt" (Metropolitan Museum of Art, 1995, full PDF available) document the exact processes by which attributions are made.
Case Studies
The reattribution of "Portrait of a Young Woman with her Hands Folded on a Book" from Rembrandt to Drost represents a landmark in attribution studies. Technical analysis revealed differences in canvas preparation and brushwork inconsistent with Rembrandt's known technique, while stylistic comparison with Drost's confirmed works established strong parallels. More recently, the pen and brown ink drawing "The Dismissal of Hagar and Ishmael" (Christie's Paris, 2023) was attributed to Drost by Peter Schatborn and Martin Royalton-Kisch based on comparisons with drawings in the Kunsthalle Bremen, Kupferstichkabinett Berlin, and Pierpont Morgan Library. The Harvard Art Museums' "Eliezer and Rebecca at the Well" (1999.136) has likewise been attributed to Drost. Perhaps the most famous attribution debate involving Drost concerns "Saul and David" (Mauritshuis, The Hague): in 1993 Ben Broos tentatively assigned it to Drost, but Jonathan Bikker subsequently rejected this attribution. After eight years of intensive technical research by the Mauritshuis, Ernst van de Wetering published the work as entirely by Rembrandt in 2015. Intriguingly, Peter Schatborn attributes a Drost drawing with a closely related composition (in mirror image) showing Saul, David, and a third observing figure.
The Bikker Catalog
Dr. Jonathan Bikker's 2005 monograph establishes the definitive catalog of Drost's works. According to Irina Sokolova, Head of Dutch Paintings at the Hermitage, Bikker's research identifies approximately 38 undisputed paintings by Drost. However, Drost's works were historically sold under a bewildering variety of names: Rembrandt, Giorgione, Tintoretto, Van den Eeckhout, Loth, Murillo, R.R. Drost, P. Drost, Cornelis Drost, Gerard Drost, Wilhelm Drost, Drost van Terlee, Jacob van Drost, and even Van Dorst.
Research is ongoing. New findings are documented in our News section.