New questions arise regarding the authenticity of a Rubens painting in the National Gallery.

Doubts are resurfacing about whether the painting “Samson and Delilah,” displayed at the National Gallery, was actually created by the famous Flemish artist Peter Paul Rubens. This speculation comes after new evidence suggests that the artwork may actually be a 20th-century copy of an older piece by Rubens, which has been lost over time.

The painting was purchased 45 years ago for a record price, but now many experts are starting to question its authenticity. Art historian Euphrosyne Doxiadis will present a detailed analysis of this painting compared to confirmed Rubens works in a book and lecture at King’s College London in March. Doxiadis believes that “Samson and Delilah” does not show the unique brush techniques that Rubens was known for.

“Samson and Delilah” portrays the biblical story of the strong hero Samson, who is betrayed by the beautiful Delilah. Rubens is known to have painted compositions of this story between 1608 and 1609 for his patron in Antwerp. Doxiadis plans to include comparisons between the painting’s details and Rubens’ authentic works in her upcoming book titled “NG6461: The Fake National Gallery Rubens,” which will be published on March 12.

In her research, Doxiadis specifically points out that the flowing brushstrokes typical of Rubens are missing in “Samson and Delilah.” For example, she compares a detail from this painting’s depiction of a statue of Venus and Cupid with one from Rubens’ work “Minerva Protects Pax from Mars.” Doxiadis remarks that the craftsmanship in “Samson and Delilah” is poor and would not have been acceptable in the 17th century. She also notes specific inaccuracies, such as Samson’s toes being oddly chopped off, which Rubens would never have done.

Doxiadis has support from eyewitness accounts, including one from Jan Bosselaers, a banker and art expert. Bosselaers contradicted the National Gallery’s claims that the painting had been glued to a blockboard in the 20th century. He provided an old photo of the painting taken before it was sold in 1980, indicating that the gluing occurred later. Michael Daley from ArtWatch UK, who has extensively researched the painting, called Bosselaers’ disclosure “dynamite.”

Daley also found a document showing that the painting was sold in 1929 by a German dealer, Gaston Lévy, who had connections to the Spanish artist Joaquín Sorolla y Bastida. When Doxiadis visited the Sorolla Museum, she recognized the style of the painting as resembling works by Sorolla and his students, who often copied old masters for artistic training. She believes that Lévy and his colleagues may have created “Samson and Delilah” as a practice piece, following the tradition of leaving something out to avoid being accused of forgery.

Further evidence casting doubt came from tests conducted in 2021 by a Swiss company, which determined a 91% chance that the painting is not genuine. Doxiadis recalls that before his death in 1997, philosopher Sir Isaiah Berlin, who was a trustee of the National Gallery, expressed to her his belief that the uncertainties surrounding the painting were valid and assured her that the truth would eventually emerge.

Both the National Gallery and Christie’s have chosen not to comment on the ongoing discussions regarding the painting’s authenticity. The revelations surrounding “Samson and Delilah” have sparked renewed interest and debate in the art world, questioning the legitimacy of works attributed to great masters like Rubens.