Lievens, Jan Leiden 1607 - Amsterdam 1674 51 x 39,9 cm Young boy with bare shoulder. Oil/oakwood. C. 1630/31. Provenienz: 1965 Harry B. Yotnakparian, New York (as Jan Vermeer van Delft) Walter P. Chrysler.Jr., New York 2005 art trade New York (as unknown Dutch master) Private Collection, Stuttgart Exhibited: Meister um Rembrandt. Vorläufer, Schüler, Zeitgenossen Galerie Hans, Hamburg 2011, p. 54-56, cat.-no. 22 (catalogue text by Jan Kelch) Lehrer Rembrandt - Lehrer Sumowski, Aalen 2019/2020, cat.-no. 13 Lehrer Rembrandt. Der grosse Maler im Spiegel seiner Schüler, Kunst-sammlungen und Museen der Stadt Augsburg, Schaezlerpalais 17.9.2021-16.1.2022 Published in: Exhibition catalogue Galerie Hans, Hamburg, 2011, p. 54-56, cat.-no. 22 Bernhard Schnackenburg; Jan Lievens. Freund und Rivale des jungen Rembrandt. Mit einem kritischen Katalog des Leidener Frühwerks 1623-1632., Petersberg 2016, p.355 ff., cat.-no. 153 Exhibition catalogue Aalen 2019/2020, cat.-no. 13 Literature to compare: Werner Sumowski; Gemälde der Rembrandtschüler., vol.III, p.1797 no. 1244, fig. on p. 1883 ( "Bacchus as a Child" for comparison) Expert report: Werner Sumowski, Stuttgart 2005 The x-ray of this panel shows an underlying tronie of a youth with a turban and long hair. This, of course, could not be known in 1965, when the painting was in the art trade in New York and attributed to Jan Vermeer van Delft. Werner Sumowski first recognized Jan Lieven's authorship in 2005 and placed the painting in close proximity to a "Bacchus as a child" from a private collection in New York (cf. also Schnackenburg, 2016, p.335 ff., no. 152 and plate on p. 336). "(...) The painting belongs to the most important group of works from the Leiden period. Around 1629 a process of subtlety began: the previous colourfulness was avoided, either broken tones accompany a single color, or a subtle monochromy is exerted. The presentation is without impetuosity and fierceness in favour of careful, fine painting technique. The form gains in classical clarity. The psychological expression increases. The present picture of first rank represents this style in an ideal way. Works of this type are idiosyncratic (...) they are not bourgeois portraits, but "tronies" (...) (excerpt from the report by Werner Sumowski, 2005).