Rembrandt’s painting was modified to erase the turban from the man’s head, restorers find | Rembrandt

Layers of excess paint have been removed from the 17th-century painting, confirming that it was by Rembrandt and revealing that one of the figures’ turban has been replaced with a traditional Dutch soft cap.

An anonymous hand later modified or sanitized Rembrandt’s original, apparently misunderstanding that its biblical theme – “Let the little children come to me” – is about tolerance, with Christ blessing children and adults alike. In the Gospel of Saint Luke, Jesus rebukes his disciples for turning away parents who brought their children to him: “They suffered.” [allow] Children and do not prevent them from coming to me, for of such is the kingdom of heaven.”

Rembrandt depicted a crowd of diverse figures. In addition to the man wearing the turban, the Jewish and Christian religions are also represented.

The artist seems to have drawn his inspiration from the multicultural and religiously diverse streets of 17th-century Holland. When he painted it, religious rivalry was rife and large numbers of refugees were coming to the Netherlands, many of whom settled in Leiden, Rembrandt’s birthplace, much to the dismay of most of the city’s residents.

Art historian Andrew Graham Dixon said the painting is consistent with Rembrandt’s close relationship with the Protestors, a group that advocated religious tolerance and acceptance.

“In 1627, when Rembrandt began this painting, Leiden was going through an extraordinary humanitarian crisis. The Thirty Years’ War was at its peak, and…hundreds of thousands of people were pouring into the Dutch Republic as refugees. In 1626, 1,500 weavers alone arrived there, with their wives and children…So there was an enormous crush of people. It is estimated that Leiden received nearly 10,000 refugees that year “One.” Graham Dixon said.

“Now, when Rembrandt paints this, he’s painting this crowded scene of Christ welcoming children, welcoming families. This was very controversial at the time. There were people in Leiden who didn’t want to be welcomed. But what we can say from this painting is that Rembrandt is on the side of humanitarian relief… “So, this is more than just a painting, I think it’s a statement of Rembrandt’s moral position.”

The painting, which measures 106cm x 80.5cm, was discovered in 2014 at a German auction, which classified it as an “unknown Dutch painting from the 17th century”.

Now, after being attributed to Rembrandt, it will be auctioned by Sotheby’s in London on July 1 with an estimate of between £8 million and £12 million, reflecting that it is among the most important early works by Rembrandt to remain in private hands.

Alex Bell, honorary chairman of Sotheby’s UK, told The Guardian: “It was transformed into a more conventional and conventional treatment of the subject through later overpainting, with the original containing a more diverse cast of figures, including the prominent turbaned figure in the centre.”

The foreground of the painting was left unfinished, and the later artist completed it somewhat crudely. The restoration has now removed the additions, “which shows how much the painting has been simplified or purged by subsequent intervention,” Bell said.

While Rembrandt had painted a naked child in the crowd, the later artist would have dressed him.

“We don’t know what Rembrandt’s ultimate plan was to complete this sculpture, but as we see it now, it is undoubtedly more striking than the over-painted version, and underscores the vulnerability of children seeking Christ’s blessing,” Bell said.

Research has revealed that this was a particularly personal painting by Rembrandt because he depicted various members of his family, including his parents and himself, in which the young man appears to rush forward to see the miraculous event, while looking directly at the viewer.

“No other picture enables Rembrandt to bring his family together so fully,” Bell said.

Rembrandt’s parents hoped he would pursue a career in law, administration, or the church, but they recognized his talent and funded his artistic training.

One theory is that since the work was painted shortly after he was apprenticed to one of Amsterdam’s leading artists, Pieter Lastman, Rembrandt was showing his parents that their investment had paid off.

The painting will be unveiled to the public from June 27 at Sotheby’s London, the first opportunity to see it in its restored state and as Rembrandt would recognize it.