Reflections on the Jordaens Exhibition
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73 The additions appear to have been made in the
74 A pentimento
shows that the crimson curtain
almost filled the upper left corner. It glows through the
darkish blue-grey architecture and the head of the acolyte.
75 Strips of canvas were added by Jordaens (13
cm., 5 1/8 in. at left; 30 cm., 11 13/16 in. at right) in the early
1650s, cf. his additions to the panel of No. 73, and painted in the
style of the Skokloster Pàinting dated 1652 [No. 105]. These
additions mean that he worked on this Louisville picture both before
and after the Vienna picture [No. 86] of the same subject, which is
all from 1645. The priest in dull red was originally the terminal
figure at the left. The youth bearing faggots and the dog are added.
The dog's muzzle and the youth's forehead, along with the tip of his
nose, spread onto the original field. Repainting by Jordaens extends
as far right as the left-hand capital of the arch which is topped by
a balustrade. At the right, the remains of a crimson curtain are
visible in the niche and on the pillar by Barnabas. There are
also showing that Paul's left forearm and hand clasping
his garment were originally much lower. The five figures behind the
apostles are additions of the early 1650s, and the faun perched on
the archway is evidently a last-minute thought. The total effect
of these changes is not only to broaden an almost square field of
design, but also to change the effect of the crowd curving towards
Paul and Barnabas from the archway in the background, to that of a
bas-relief concentrated nearer to the fore-plane. See M. Jaffé,
Bulletin of the J.
Speed Art Museum (Louisville, Kentucky), XXVII, No. 2, May 1970.
81 Jordaens used the right-hand study for the figure of Amphitrite in No.
200 (see below under that
number). The painting
was cleaned in Florence only just in time for the exhibition. (23)
85 A pentimento
of a head is visible through the
door and doorway, slightly above and to the left of the head of the
89 Recently purchased by the Springfield
Museum of Fine Arts, Springfield, Massachusetts.Home
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91 The composition of the Pushkin Museum painting
[fig. xxv] has been extended by a vertical strip of canvas seamed on
at the right beyond the donkey's rump. Technical examination is
awaited to determine whether there have been additions to the top
or bottom. The angel looking back at the Holy Family, and the
elegantly mannered gesture of his pointing left arm, besides the
general disposition of the figures, reflect Jordaens's admiration
for Jacopo Bassano's handling of the theme in the painting (canvas,
119.4 x 198.1 cm., 47 x 78 in.) formerly at Prinknash Abbey,
Gloucestershire, which was sold at Christie's, London, 5 December
1969, No. 112, and bought by Mr. Norton J. Simon. The version of the
Jordaens composition recorded with Weitzner in 1934 was sold by him
to the Long Island Episcopal Seminary.
92 Now in a private collection, West Germany.
94 Mr. M. J. McCarthy has solved the iconographic
problem by identifying the subject as "Moses and Zipporah,"
which would fit the description given in the Vandergucht sale
(1788). Jordaens evidently had two Old Testament texts in mind.
Exodus II, 21 gives, " And Moses was content to dwell with the
man; and he gave Moses Zipporah his daughter." Then Numbers
XII, I gives," And Miriam and Aaron spoke against Moses
because of the Ethiopian woman whom he had married: for he had
married an Ethiopian woman." Here Jordaens, in an effort to be
textually correct, decided to show the wife of Moses as a negress.
Zipporah means "little bird"; and the placing of her right
hand in the Rubenshuis painting - so Mr. McCarthy proposes - may be
intended to suggest that she is fondling a bird at her breast. It is
indeed not quite clear how her hand relates to her drapery, if
nothing more than drapery was intended.
95 After removal of the thin strip of canvas
along the top, in the process of cleaning and relining, the
measurements are 118.3 x 106 cm., 46 5/8 x 41 3/4 in. Cleaning
revealed this painting, hitherto classed at Warsaw as a schoolwork,
to be an autograph by Jordaens.
96 See No. 213 below.
98 A pentimento shows that the buttocks of the
central figure were originally placed lower.
100 / 101 / 102. As K. Frcmantlc, The Baroque Town
Hall of Amsterdam,
Utrecht, 1959, pp. 140-141, repr. pls. 152-153,
points out, Huyghens almost certainly referred to Gevartius's Pompa
with plates engraved by van Thulden from
Rubens's designs. Jordaens, of course, knew this publication of
1642, as well as THE TRIUMPHAL ENTRY OF HENRY IV INTO PARIS.
104 Add to PROV.: Sale, Paris (Palais Galliera),
20 June 1961, No.76*.
now belongs to Mr. John Goelet,
105 Professor T. Heinrich, Toronto, called my attention to a
drawing (fig. 3) in his collection (ex
M. Grey, C. 1950). This is a
studio copy after a missing Jordaens study of a young man crouched
over a stool, with a clay pipe in his right hand. Jordaens
introduced the figure in this pose, but wearing a hat (and omitting
the hand and sleeve of another figure which rests on the head and
shoulder of the kneeling man), at a crucial stage between the
British Museum drawing [No. 245] and the Skokloster painting, in
order to knit the composition together more effectively.
106 In the Gemeentemuseen, Amsterdam [No. 103],
as "school van J. Jordaens", acquired from Mensing Sale,
Amsterdam (Fr. Muller), 27-29 April 1937, is a drawing (fig. 4),
inscribed Jordaens, in ink. This is evidently a copy either of a
Jordaens group portrait of this character and period, or of some
preparation for one. Prof. Dr. H. L. Co Jaffé kindly brought the
Amsterdam drawing to my attention.
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