The attribution to Drost has never been questioned, save for Benjamin Rifkin's 1969 alternative suggestion to Paudiss or Van Gherwen. Jonathan Bikker included the work in his 2005 monograph where he convincingly compared the panel to other portraits by Drost, notably a picture in the Metropolitan Museum of Art (inv. no. 41.116.2), which utilizes similar "thin, arched eyebrows, almond eyes, long nose and thin lips with dimples on either side".1 The technique of contrasting coarse, thickly applied passages such as those in the hair and shirt with other thin areas (to the degree that much of the ground is exposed) is also consistent with Drost's male portraits from around this time, notably Bust of a Man Wearing a Large-Brimmed Beret (Dublin, National Gallery of Ireland). Furthermore, Drost's seemingly arbitrary and spontaneous flicks of paint of varying colors --visible in the hair and shirt--are consistent with other pictures from this moment.
A number of scholars compare the immediacy and sketchy quality of this self portrait with that of Carel Fabritius' example in the Boijmans van Beuningen Museum, Rotterdam. Bikker draws attention to the relaxed nature of the pose and dress in both works, as well as the particularly sketchy and personalized nature of each painting as points of comparison in positively identifying this work as a self portrait. The costume of Fabritius there, described by Bikker as "working dress" is also found in self-portraits by Rembrandt.2
1. See literature, Bikker 2005, p. 21.
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