Focus on this artwork and explore the Related travesty picture.
In 1993 the artist Russell Connor painted a portrait in the style of Rembrandt showing the Dutch master, palette in hand, standing in front of the incomplete Polish Rider. With a twist of dry irony, Connor attributed the painting to Rembrandt's pupil Carel Fabritius and submitted it to The New Yorker with a joke note saying that the painting had been found in a basement in Pinsk, Poland. The magazine published a reproduction of Connor's painting with a slightly reworked version of his comments, obviously not intending to pass it off as genuine but as a comment on the zeal of the Rembrandt Commission, who at the time were questioning the authenticity of the Polish Rider and many other paintings formerly known as genuine Rembrandt canvases.
Dutch Rembrandt New York The New Yorker Carel Fabritius Pinsk