Reflections on the Jordaens Exhibition
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158 This drawing comes even closer then the
Albertina MADONNA AND CHILD WITH A MAID, BY CANDLELIGHT
[No. 147] to
the borderline of pure genre, at a rermarkably early date. The
holiness of the persons involved in the scene is introduced through
the horneliness of changing the baby's napkin.
160 Susanne Heiland. "Two Rubens Paintings
Rehabilitated... Burlington Magazine. CXI. July 1969. pp. 421-
426. fig. 7. has now published the predella panel referred to in
paragraph I. She attributes the Albertina copy (her fig. 8) to
"school of Rubens."
161 Reference should have been made to the comparative illustration of the Louvre painting [fig.
which Jordaens anticipates Rembrandt in his adoption of a Jewish
rather than an Italianate Christ.
167 Commentary, fine 7: for master read
168 This type of comparison was inspired
evidently by Rubens's JUDGEMENT OF CAMBYSES
of c. 1622, painted for
the Brussels Town Hall, and burnt in 1695. The oil sketch for that,
recorded by J. Smith, Catalogue raisonné,
London, 1842, no. 844, at
Schloss Brandenburg, Potsdam, is now at Schloss Sanssouci (1965
catalogue, No. 92, as "Werkstattwiederholung nach Rubens,"
fig. 13). This sketch was imitated with such verve by Jordaens that
his painting (oil on oak panel, fig. 14, 43.2 x 43.2 cm., 17 x 17 in; with Adrian Merz, Grasmere, Westmorland, 1963; with Frederick
Mont, New York, 1965; stolen 1966 from the collection of Mr.
Lawrence A. Fleischman, Detroit) has passed as an original sketch by
Rubens for the picture, which was engraved in reverse by R.
Eynhoudts. Comparison of the colour combinations in this brilliant
imitation with those in such Jordaens drawings of the second half of
the 1620s as Nos. 163, 168 and 169 leaves no doubt of the true
authorship: especially the bright blue, brick red, pink, violet and
yellow. There are the same beady eyes and other characteristic
abbreviations in the faces; and the same cyphering of hands. Precise
analogies are to be found between the centurion in the plumed helmet
standing at the right and the equivalent figure in the copy after
for the ADLOCUTIO OF THE CONSUL DECIUS MUS [No. 169]; and between the page and Allucius [No. 168]. Jordaens
evidently wished to school himself about this time in the favourite
technical means as well as in the compositional ideas of Rubens when
sketching. The Rubens original at Sanssouci (Rooses
1886-92, No. 793)
is identified with the sketch of this subject in the Lormier sale,
The Hague, 1763. The copy of that at the Verbuecken sale, Antwerp,
1777, may be the Jordaens copy, or it may be another by a Rubens
follower, formerly in the Neues Palais, or a third belonging to the
Metropolitan Museum (Goris-Held, A. 88).
PROV. Prince Charles de Ligne Sale,
Vienna (Blumauer), 4 November 1794.
to LIT.: A. Bartsch, Cat.
raisonné des desseins originaux ...du cabinet de feu le Prince
Charles de Ligne, Vienna, 1794, p. 267, No. 1 (as Jordaens).
171 Cross-reference should have been made to No. 134. The fragment of the print, mounted on linen (94 x 274 mm., 3
5/8 x 10 25/32 in. approx.), which Jordaens used in the makeup of his
sheet, shows at the right a pair of oxen ploughing uphill. This
detail resembles the background of J. Saenredam's WORSHIP OF CERES
engraved in 1596 after Goltzius (B. III, 70.1; Hollstein,
fragment which Jordaens found to be of the right quality of paper to
make up his sheet for drawing, and apt in tone, was evidently
taken from an incomplete proof or from a very damaged impression.
That the design of the engraving by Saenredam was known to him is
virtually certain; and it may well have stimulated him to undertake
this rare subject in the Prado picture [cf. No. 141].
174 The Lille painting is illustrated [No. 46].
181 Notice should have been included of the
change of setting indicated by the drawing from that realized in
the painting. In the drawing Martha enters from the open air, where
foliage is visible. In the painting she comes from indoors into a
room hung sumptuously with cuir de Malines. In either case Jordaens
revolutionizes the sixteenth-century tradition established by
Aertsen and Beuckelaer, of treating this theme as an opportunity to
display a kitchen still-life.
183 Physical description: for white paper read
two pieces of white paper. (31)
188 In addition to Hamhurg Kunsthalle No. 22063,
justification should he made here of another large and highly
finished drawing by Jordaens of this type and date, THE FALL OF
at the Hessisches Landes museum, Darmstadt, Hz 921 (likewise
classified by d'Hulst 1956, No. 242, with Replieken en Kopieen naar
Jakob Jordaens). This masterly drawing at Darmstadt, in which a
significant numher of pentimenti
are apparent where the definitive
outlines do not follow the basic indications, is superior in quality
to the painting at Budapest (1924 catalogue, No. 420a). D'Hulst
claims it as a copy of that painting; and indeed, except for
changes in the foreground plants and in the disposition of the
apples and boughs, it corresponds closely. But although it may be
classed as a ricordo, rather than as a modello, it is nonetheless
drawn by Jordaens himself (fig. 15).
189 jacques jordaens
is inscribed in black chalk,- not red chalk. Only 45 is in red chalk.
192 The Rubens sketch in the Art Institute of
Chicago is illustrated [fig. XXXIV].Home
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195 In the course of unfolding and remounting
this sheet at the Albertina in preparation for exhibiting fully both
and verso, an inscription, Jordaens del. nato
154, black chalk
(not later than the early eighteenth century), was found on the
verso. On the right half of the recto
(fig. 16) appeared a hasty
sketch in red chalk of a figure leaning over a balustrade, drawn by
Jordaens in preparation for composing the subject of A FOOL WITH AN
OLD MAN AND A YOUNG WOMAN.
200 The dating suggested for these studies, c.
1640-45, is confirmed by the observation, first made to me by Mrs.
Mary C. Taylor, that the left-hand figure was adapted, with a new
pose for the head, for Amphitrite in No. 81. This crouching figure
was changed for a seated one in the cartoon for the tapestry [No.
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