In the beginning the authoress discusses a question of attributing drawings to Rembrandt and his school in the past. Then the attention is paid to the present tendency of rejecting Rembrandt's authorship in favour of his pupils. Examples of such revaluations in well known European collections have been quoted. The reference is made to the issue of identifying stylistic groups on the example of Carl Fabritius and Willem Drost. Further, a detailed analysis of the changes in attributions of the drawings of Rembrandt and his pupils in Polish collections is given, which resulted from the exhibition 'Rembrandt. Drawings and Prints from Polish Collections' (The National Museum in Warsaw, 2006). First, the collection from the Ossolinski National Institute in Wroclaw was presented. The attributions of six drawings from this collection, formerly published as Rembrandt's have been changed. Three of them were ascribed to Carel Fabritius ('The Triumph of Mordecai' and two versions of the 'Landscape with an Arcaded Bridge'), another one to Gerbrandt Eeckhout ('Pastoral'), another one to Willem Drost ('Susana and the Old Men') and the last one to a Rembrandt's follower ('Thatched Cottage and a Leafless Tree'). The drawing 'Manius Curius Dentatus Refusing to Accept the Gifts from Samnites' from the Print Room of the University of Warsaw Library, previously published under the name of Rembrandt, has been attributed to Gerbrandt van den Eeckhout. The attributions of two Rembrandt's drawings ('Sitting Old Man in a Hat' and 'View of the St. Anthoniessluis') from the National Museum in Gdansk have not been changed. In the National Museum in Warsaw one drawing which formerly had been ascribed to the Rembrandt's school ('Joseph Telling His Dreams') has now been attributed to Aert de Gelder..