אמן: Anthony Van Dyck
תַאֲרִיך: 1650
גודל: 26 x 20 cm
טֶכנִיקָה: Oil On Panel
Jan Gaspar Gevaerts (Gevartius; 1593-1666), the sitter in this portrait, was an internationally famous, classical scholar, as well as a lawyer, historian and diplomat. He was town clerk to the city of Antwerp from 1621 to 1662, and a trusted friend of Peter Paul Rubens (1577-1640). One of Gevaerts’s duties was to collaborate with him in devising the programme for the decorations for the Joyous of the Cardinal-Infante Ferdinand (1609/1610-1641) into Antwerp in 1635, about which he wrote a detailed, learned commentary in Latin: Pompa triumphalis introitus Ferdinandi Austriaci hispaniarum infantis, &c. in urbem Antverpiam, 1642. This sketch in brunaille, which has the same provenance as SK-A-2318, has been thought to be a copy of the sketch owned by the duke of Buccleuch and Queensberry at Boughton House, Northamptonshire,5 which is one of the group of grisaille oil sketches long associated with the creation of the Iconography, a collection of prints of portraits of notable personages (see SK-A-2318) designed by Anthony van Dyck and mainly engraved by Paul Pontius (1603-1658). This is likely but not certain, as the museum picture shows one button fewer on the tunic. In fact, among other differences the Boughton sketch in its turn shows one button fewer than appear in Pontius’s engraving.6 Like SK-A-2318, the present picture is described as a work executed in Van Dyck’s studio in the 1976 museum catalogue. However, it is hard to believe that the studio could have produced such a poorly executed painting. Actually, although they are equally as weak, the handling in the two works differs. Neither need necessarily have been painted in Van Dyck’s lifetime. Van Dyck’s engraved portrait of Gevaerts is quite different from Rubens’s more static image of his friend in the Koninklijk Museum voor Schone Kunsten, Antwerp;7 the latter may have been painted a little later, as the hair is shown slightly receded. Gregory Martin, 2022
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