AMSTERDAM.- Researchers at the Rijksmuseum have demonstrated that the painting Vision of Zacharias in the Temple (1633) was made by Rembrandt. They examined the work with the same advanced techniques used in Operation Night Watch, and closely compared it with other paintings by Rembrandt from the same period. Materials analysis, stylistic and thematic similarities, alterations made by Rembrandt, and the overall quality of the painting all support the conclusion that this painting is a genuine work by Rembrandt van Rijn. The work is on long-term loan to the Rijksmuseum from a private collector and will be on view to the public from Wednesday 4 March.

It’s wonderful that people can now learn more about the young Rembrandt – he created this very poignant work shortly after moving from Leiden to Amsterdam. It is a beautiful example of the unique way Rembrandt depicts stories. -- Taco Dibbits, Director of the Rijksmuseum

Zacharias

The painting depicts a scene from the biblical story of high priest Zacharias. It shows the moment Zacharias receives a visit in the temple from the Archangel Gabriel. The angel tells Zacharias that, despite his and his wife’s advanced age, they will have a son: John the Baptist. The angel is not shown in the painting, but the light shining from the upper right corner heralds his arrival. Zacharias’ expression of surprise reflects his incredulity.

Under the radar

In 1960, the painting was excluded from Rembrandt’s oeuvre. After being purchased by a private individual in 1961, it disappeared from public view. Unaware of the picture’s whereabouts no experts had been able to study it since that time. Recently, however, the current owner contacted the Rijksmuseum, allowing the painting to be examined for the first time in 65 years.

Research

This two-year study has revealed that all the paints used for the Vision of Zacharias in the Temple are found in other Rembrandt van Rijn works from the same period. The painting technique and the build-up of paint layers are also comparable to other early works by Rembrandt. Macro-XRF scans and visual inspection additionally revealed compositional changes that support the authenticity of the work. Research into the signature shows that it is original, and dendrochronological analysis of the wooden panel confirms that the date of 1633 on the painting is correct.

Rembrandt’s oeuvre

Thematically, the work also fits seamlessly into the oeuvre of the then 27-year-old artist, alongside Daniel and Cyrus Before the Idol Bel (1633, J. Paul Getty Museum, Los Angeles), Simeon's Song of Praise (1631, Mauritshuis, The Hague), and Jeremiah Lamenting the Destruction of Jerusalem (1630, Rijksmuseum, Amsterdam).