Faux Rembrandt remains in Morehead Gallery

For decades, a misattributed portrait sat in the Morehead Planetarium and Science Center. The painting, “Liesbeth,” was thought to be the work of 17th century Dutch painter Rembrandt van Rijn.

Now, the portrait is famous for what it isn’t.

John Motley Morehead III opened the Genevieve Margaret Birkhead Morehead Art Gallery in honor of his wife in 1949. “Liesbeth” has been there since it was premiered.

“Liesbeth” is not the only one of Rembrandt’s paintings in question. In 1968, the Dutch government launched the Rembrandt Research Project to identify how many Rembrandt-signed works were authentic. The project wasn’t finished until 2015.

Dennis Weller, curator of Northern European art at the North Carolina Museum of Art, said Rembrandt misattribution is so common because of the number of people in his workshop.

“Rembrandt had a lot of students throughout his career,” Weller said. “They were taught to paint exactly like him, and it was common for their work to be sold under his name.”

The “Liesbeth” in the title comes from Rembrandt’s sister, another reason it was believed to be one of his works, Weller said.

In 1986, the Rembrandt Project published findings that said “Liesbeth” was likely not done by Rembrandt’s hand. It was reattributed to one of his apprentices, Isack Jouderville. It was another 20 years before the Morehead Planetarium updated its labeling.

“The Ackland was aware of those findings, but we didn’t have any influence over the Morehead Gallery,” said Timothy Riggs, a curator for the Ackland Art Museum when the findings were released. “Although it’s a gallery with reputable works, it’s not run by art historians.”

In 2011, the North Carolina Museum of Art hosted a “Rembrandt in America” exhibit. The show featured works by Rembrandt himself and many that were previously thought to be by Rembrandt. “Liesbeth” was a member of the latter group.

“When ‘Liesbeth’ is really examined, you can see that the true Rembrandts stand head and shoulders above it,” Weller said.

But Rembrandt isn’t the only painter who has faced attribution problems.

“The bigger the artist, the more careful you have to be with properly labeling their work,” Weller said.

Tania String, a UNC art history professor, said despite the new authorship, “Liesbeth” is still a portrait worth seeing.

“Whoever the painter is clearly learned the lessons of the master,” she said. “Although it’s not a Rembrandt, that doesn’t diminish what a beautiful painting it is.”

String said if it were a Rembrandt, it likely wouldn’t be in the Morehead Gallery.

“Its value would increase dramatically, and we probably wouldn’t have it anymore,” she said. “It would belong in a major museum.”

Now, correctly labeled, “Liesbeth” will remain in her home in Chapel Hill.

@marisahdunn

arts@dailytarheel.com