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Layers of paint have been removed from the 17th century painting, confirming that it was painted by Rembrandt revealing that the turban on one of the figures was replaced with a traditional Dutch hat.
An unknown hand later changed or cleaned up Rembrandt’s original, apparently not understanding that his biblical theme – “Let the little children come to me” – is about tolerance, as Christ blesses both children and adults. In the Gospel of Saint Luke, Jesus reprimands his disciples for turning away the parents who brought their children to him: “Let the little children, and do not prevent them from coming to me;
Rembrandt depicted a diverse group of people. As well as the turbaned man, Jewish and Christian beliefs are also represented.
The artist seems to have been inspired by the colorful, religious streets of 17th-century Holland. While he was painting, religious tensions were high and many refugees were coming to Holland, many settling in Rembrandt’s birthplace, Leiden, much to the chagrin of many in the city.
A historical writer Andrew Graham-Dixon said the painting is related to Rembrandt’s association with the Remonstrants, a group that opposed religious tolerance and acceptance.
“In 1627, when Rembrandt began painting this picture, Leiden was in an incredible humanitarian crisis. The Thirty Years’ War was at its peak, and . . . hundreds of thousands of people were rushing to the Netherlands as refugees. Like 10,000 refugees in that one year,” said Graham-Dixon.
“Now, when Rembrandt is painting this, he is painting a crowded picture of Christ welcoming children, welcoming families. This was very controversial at the time. There were people in Leiden who did not want to welcome them. But what we can say from this picture is that Rembrandt is on the side of humanitarian aid…responsibility.”
The painting, which measures 106cm by 80.5cm, was found in 2014 at a German auction house, which described it as a “17th century Dutch painting”.
Now, said to be by Rembrandt, it will be sold by Sotheby’s in London on 1 July with an estimate of £8m to £12m, marking it as one of Rembrandt’s earliest private works.
Alex Bell, outgoing chairman of Sotheby’s UK, told the Guardian: “It was designed to be very traditional and typical of later paintings, the original had a variety of characters, including a prominent, central hatted one.”
The front of the picture is unfinished, very crudely finished by a later artist. The restoration has now removed the additions, “showing how the painting was softened, or cleaned, by the intervention,” Bell said.
When Rembrandt painted a naked child in a crowd, the artist clothed him.
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Bell said: “We don’t know what Rembrandt’s master plan was to complete this figure, but as we can see now, it is more interesting than an over-painted book, and it emphasizes the vulnerability of children seeking the blessings of Christ.”
Research has shown that this was a personal painting by Rembrandt as it depicts various members of his family, including his parents and himself, while the young man seems to be longing to see the miracle, looking directly at the viewer.
Bell said: “There is no other picture in which Rembrandt gathers his family completely.”
Rembrandt’s parents expected him to work in law, administration or the church, but they recognized his talent and paid for his art education.
One theory is that as the work was painted shortly after his apprenticeship with Amsterdam artist Pieter Lastman, Rembrandt was showing his parents that their money had paid off.
The painting will be revealed to the public from 27 June at Sotheby’s London, the first opportunity to see it in its restored condition and as Rembrandt would have known it.
