Reflections on the Jordaens Exhibition
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205 The physical description is incomplete. Inscribed recto:
ink, not by the hand of the artist;
Jacob Jordaens-projet de décoration intérieure pour la
maison du peintre aujourd'hui détruite -
S. R., pencil (these initials
PROV. H. S. Reitlinger sale, London (Sotheby's),
23 June 1954, No. 768, bought for the National Gallery of Canada.
to LIT.: Popham-Fenwick, No. 144.
213 Mrs. Z. Filipczak first pointed out to me
that Jordaens used studies from this sheet when he came to design
the Kassel TRIUMPH OF BACCHUS [No. 96]. The way in which the hands
support the round basket is followed rather closely for the hands of
the young countrywoman with the basket of grapes; and the hand
clasping the large ring-shaped object is taken almost literally for
the hand of the negro with the tambourine. The other isolated hand
on the Paris sheet and the hand which paddles in the serving
woman's bosom were not used, however, for the Kassel picture.
Clearly the Paris sheet was in stock before that was conceived; and
it may date from the first rather than the second half of the 1640s,
as its position in the catalogue implies.
214 Add to
LIT.: Antwerp / Rotterdam 1966-67,
94 (under No. 75), as "door vreemde Rand."
opinion of d'Rulst may not convince those who saw this sparkling
autograph in the context of the Ottawa exhibition.
220 Physical description: after squared for
in black chalk.
226 The drawing had been exhibited: Brussels 1926
No. 16; Brussels, Cent Vingt Dessins,
Musées royaux des Beaux-Arts
de Belgique, Sept. / Nov. 1967 (Mlle E. De Wilde classes the
Brunswick painting incorrectly as "un tableau d'atelier").
The subject correctly should be "The Earthly Trinity" (cf:
J. B. Knipping, De Iconografie van de Contra-Reformatie in de
1939, I, pp. 156-157, Afb. 104). Held (32) rightly
calls attention to the discussion of this theme by E. Mâle, L'art
religieux après le Concile de Trente, Paris, 1951, pp. 312-313,
245 In the collection of Professor T.
Heinrich, Toronto, is a drawing in chalks (fig. 3) which evidently
records a missing study by Jordaens for the figure of the young man
with the clay pipe, introduced to enliven the composition at a stage
between the British Museum drawing and the skokloster painting [NO.
247/248 The same pale violet wash appears on both
drawings, which are unmistakably by the same hand at approximately
the same time.
249 See entry for hors catalogue
B, below. This
Besançon drawing should have been dated post-1653, probably c.
1660, but in any case before 25 April 1662.
250 The artist's inscription reads Cleopatra laet
haer stechen va(n) Een Slange om niet Te vallen in handen va(n)
according to Held. (33) Steeken is another reading for stechen.
E. Peter Jones, Greenbank,
With Stephen Spector, NewYork.
258 Add to
LIT.: Marian C. Donnelly, AQ, Winter
pp. 356-361, fig. 2.
The author draws attention to the play of
Calvin's associate, Théodore de Bèze, Abraham sacrifiant, in which
Satan appears in the guise of a monk, as does the central figure here.
262 The scribe seated in the foreground with the
pile of books seems a more or less conscious reflection of the St.
Andrew introduced by Raphael at an advanced stage in the planning of
273 As the English translation makes clear, the
Flemish inscription includes 2000 Croonen. Waer op Cavarra
Held (34) points also to two other regrettable oversights
in proof correction: huiswrou for huysvrouw(e),
There is also a third: to
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