Rembrandt or not Rembrandt? Drawings by the celebrated Dutch master have always been mixed up with those by his disciples and assistants who worked in the same style. Research carried out over the last years has led to a fundamental reappraisal of Rembrandt’s drawings that also affects the outstanding holdings of the Berlin Kupferstichkabinett. The exhibition presents approximately a hundred of the best drawings by artists in Rem-brandt’s circle as well as several originals by Rembrandt from our own collection and from other museums. In recent years, the authenticity of Rembrandt’s drawings has greatly ex-ercised the few experts working in this field – with astonishing results: More than half of the drawings listed as autograph in the magisterial cata-logue raisonné compiled between 1954 and 1957 by Otto Benesch, the Viennese art historian and director of the Albertina, are now regarded as works by students and assistants. This has a major

This fall, as part of the ongoing dialogue over AI and art, Christie’s will become the first major auction house to offer a work of art created by an algorithm, which will be included in the Prints & Multiples auction in New York October 23-25. The work is titled Portrait of Edmond de Belamy (estimate: $7,000-10,000), created by artificial intelligence and conceived by the Paris-based collective Obvious. The portrait depicts a gentleman, possibly French and — to judge by his dark frockcoat and plain white collar — a man of the church. The work appears unfinished: the facial features are somewhat indistinct and there are blank areas of canvas. The portrait, however, is not the product of a human mind. It is one of a group of 11 unique portraits of the fictional Belamy family conceived by Obvious, a Paris-based collective consisting of Hugo Caselles-Dupré, Pierre Fautrel and Gauthier Vernier. Hugo Caselles-Dupré, repre

In July we had the opportunity to examine Van Dyck’s glorious Charles I and the Knights of the Garter in Procession at the Ashmolean Museum in Oxford. As the late Sir Oliver Millar wrote in the 2004 Van Dyck. A Complete Catalogue of the Paintings, ‘There is no finer, or larger, example of Van Dyck’s ability as a painter of oil sketches.’ The sketch was made as a model for a projected but never executed series of tapestries to decorate the Banqueting House in Whitehall. Van Dyck included this oil sketch is his autumn 1638 ‘Memoire pour Sa Majestie’ which original can be found on our website. The panel is constructed from four separate planks, not two as recorded in the Van Dyck literature. It’s overall size is 29.4 cm x 131.9 cm. There are two brand marks of the collection of Charles I on the reverse of the panel, the first we have encountered. There

The monographic exhibition Monet / Boudin presented by the Museo Nacional Thyssen-Bornemisza offers visitors the first opportunity to discover the relationship between the great Impressionist painter Claude Monet (Paris, 1840 – Giverny, 1926) and his master Eugène Boudin (Honfleur, 1824 – Deauville, 1898), the most important representative of mid-19th-century French plein air painting. This joint presentation of their work not only aims to cast light on Monet’s formative years, in which Boudin played an important role, but also to offer a vision of their entire careers and the origins of the Impressionist movement. Curated by Juan Ángel López-Manzanares, a curator at the Museo Thyssen, the exhibition brings together around 100 works by the two artists, including loans from museums and institutions such as the Musée d’Orsay, Paris, the National Gallery, London, the Metropolitan Museum of Art, New York, the Israel Museu