It has recently been discovered that many attributions of paintings to the seventeenth-century Dutch artist Rembrandt may be false. The contested paintings are not minor works, whose removal from the Rembrandt corpus would leave it relatively unaffected: they are at its very center. In her recent book, Svetlana Alpers uses these cases of disputed attribution as a point of departure for her provocative discussion of the radical distinctiveness of Rembrandt's approach to painting. Alpers argues that Rembrandt exercised an unprecedentedly firm control over his art, his students, and the distribution of his works. Despite Gary Schwartz's brilliant documentation of Rembrandt's complicated relations with a wide circle of patrons, Alpers takes the view that Rembrandt refused to submit to the prevailing patronage system. He preferred, she claims, to sell his works on the open market and to play the entrepreneur. At a time when Dutch artists were organizing into professional brotherhoods and academies, Rembrandt stood up. In fact, Alpers portrait of Rembrandt shows virtually every aspect of his art pervaded by economic motives. Indeed, so complete was Rembrandt's involvement with the market, she argues, that he even presented himself as commodity, viewing his studio's products as extensions of himself, sent out into the world to earn money. Alpers asserts that Rembrandt's enterprise is found not just in his paintings, but in his refusal to limit his enterprise to those paintings he actually painted.

Why has the authenticity of many paintings attributed to the seventeenth-century Dutch artist Rembrandt come under question?

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It has recently been discovered that many attributions of paintings to the seventeenth-century Dutch artist Rembrandt may be false. The contested paintings are not minor works, whose removal from the Rembrandt corpus would leave it relatively unaffected: they are at its very center. In her recent book, Svetlana Alpers uses these cases of disputed attribution as a point of departure for her provocative discussion of the radical distinctiveness of Rembrandt's approach to painting. Alpers argues that Rembrandt exercised an unprecedentedly firm control over his art, his students, and the distribution of his works. Despite Gary Schwartz's brilliant documentation of Rembrandt's complicated relations with a wide circle of patrons, Alpers takes the view that Rembrandt refused to submit to the prevailing patronage system. He preferred, she claims, to sell his works on the open market and to play the entrepreneur. At a time when Dutch artists were organizing into professional brotherhoods and academies, Rembrandt stood up. In fact, Alpers portrait of Rembrandt shows virtually every aspect of his art pervaded by economic motives. Indeed, so complete was Rembrandt's involvement with the market, she argues, that he even presented himself as commodity, viewing his studio's products as extensions of himself, sent out into the world to earn money. Alpers asserts that Rembrandt's enterprise is found not just in his paintings, but in his refusal to limit his enterprise to those paintings he actually painted.

Why has the authenticity of many paintings attributed to the seventeenth-century Dutch artist Rembrandt come under question?

Accepted Answer

**Solution:**

1. The passage begins by stating that many paintings attributed to Rembrandt may not be genuine.

2. It emphasizes that these disputed paintings are central to Rembrandt's recognized body of work, not minor pieces.

3. Therefore, the main reason for scrutiny is the suspicion that a large portion of Rembrandt's works might be falsely attributed.

4. Options referring to stylistic inconsistencies or chronological gaps are not supported by the passage.

**Answer:** Option (a) — A significant number of paintings credited to Rembrandt are suspected to be forgeries.

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