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The evidence linking this portrait to Jane Austen is not at all convincing.
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Sure, the painting has long been somewhat loosely connected to Austen's extended family and their descendents, but this hardly proves it's a portrait of Jane Austen as a teenager.
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The reading's arguments that the portrait is of Austen are questionable at best.
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First, when the portrait was authorized for use in the 1882 publication of her letters, Jane Austen had been dead for almost 70 years.
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So the family members who asserted that the painting was Jane had never actually seen her themselves.
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They couldn't have known for certain if the portrait was of Austen or not.
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Second, the portrait could very well be that of a relative of Austen's, a fact that would explain the resemblance between its subject and that of Cassandra's sketch.
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The extended Austen family was very large and many of Jane Austen's female cousins were teenagers in the relevant period or had children who were teenagers.
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And some of these teenage girls could have resembled Jane Austen.
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In fact, many experts believe that the true subject of the portrait was one of those relatives, Marianne Kempian, who was a distant niece of Austen's.
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Third, the painting has been attributed to Humphrey only because of the style.
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But other evidence points to a later date.
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A stamp on the back of the picture indicates that the blank canvas, you know the actual piece of cloth on which the picture was painted, was sold by a man named William Legg.
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Record showed that William Legg did not sell canvases in London when Jane Austen was a teenager.
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He only started selling canvases when she was 27 years old.
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So it looks like the canvas was used for the painting at a time when Austen was clearly older than the girl in the portrait.
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1 / 16
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显示原文 =The evidence linking this portrait to Jane Austen is not at all convincing.
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2 / 16
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显示原文 =Sure, the painting has long been somewhat loosely connected to Austen's extended family and their descendents, but this hardly proves it's a portrait of Jane Austen as a teenager.
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3 / 16
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显示原文 =The reading's arguments that the portrait is of Austen are questionable at best.
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4 / 16
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显示原文 =First, when the portrait was authorized for use in the 1882 publication of her letters, Jane Austen had been dead for almost 70 years.
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5 / 16
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显示原文 =So the family members who asserted that the painting was Jane had never actually seen her themselves.
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6 / 16
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显示原文 =They couldn't have known for certain if the portrait was of Austen or not.
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7 / 16
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显示原文 =Second, the portrait could very well be that of a relative of Austen's, a fact that would explain the resemblance between its subject and that of Cassandra's sketch.
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8 / 16
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显示原文 =The extended Austen family was very large and many of Jane Austen's female cousins were teenagers in the relevant period or had children who were teenagers.
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9 / 16
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显示原文 =And some of these teenage girls could have resembled Jane Austen.
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10 / 16
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显示原文 =In fact, many experts believe that the true subject of the portrait was one of those relatives, Marianne Kempian, who was a distant niece of Austen's.
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11 / 16
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显示原文 =Third, the painting has been attributed to Humphrey only because of the style.
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12 / 16
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显示原文 =But other evidence points to a later date.
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13 / 16
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显示原文 =A stamp on the back of the picture indicates that the blank canvas, you know the actual piece of cloth on which the picture was painted, was sold by a man named William Legg.
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14 / 16
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显示原文 =Record showed that William Legg did not sell canvases in London when Jane Austen was a teenager.
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15 / 16
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显示原文 =He only started selling canvases when she was 27 years old.
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16 / 16
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显示原文 =So it looks like the canvas was used for the painting at a time when Austen was clearly older than the girl in the portrait.
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