Portrait of a Woman

The composition of this portrait is closely related in posture and gesture to its counterpart, the “Portrait of Man” (Inv. No. GG 407), and the same materials and techniques were used in both paintings. Because of the somewhat stiff and passive posture of the woman, the scholars of the Rembrandt Research Project decided that this portrait is not in that painter’s hand. A recently suggested attribution is to Ferdinand Bol, although he did not work in Rembrandt’s studio until after 1635.