New discoveries at the JVDPPP

November 5 2017

Image of New discoveries at the JVDPPP

Picture: JVDPPP

The new Jordaens Van Dyck Panel Paintings Project unveiled some more exciting discoveries at a press conference last week, including a previously unknown Jordaens panel above left. The picture is called The Penitent Peter and John the Evangelist Approaching the Tomb of Christ. From the JVDPPP website:

We had found a reference to it and a small black and white photograph, taken in 1971, in the database of the Belgian Royal Institute for Cultural Heritage (IRPA-KIK) as belonging to the Church of Our Lady of La Cambre and Saint Philippus Nerius in Brussels. We visited the church but to no avail. Eventually Joost tracked it down within the Church fabric. Our research discovered that it was gifted to the church by Hortense Hannet (1855 – 1940) in memory of her husband, François Hannet (1837 – 1918), a Professor of Design in Brussels, and in whose collection it had resided. It had been exhibited at the 1905 Jordaens exhibition in Antwerp and it was listed by the art historian Max Rooses in his 1908 monograph on the artist but trace of it had been lost for over a hundred years and no image of it had been published.

Peter is a portrait of Abraham Grapheus, the Steward of the artists’ Guild of Saint Luke in Antwerp. He was well-known to both young artists, Jordaens and Van Dyck. They were inscribed as apprentices in the Guild in the years 1607-8 and 1610-11 and became masters in the Guild in 1615-6 and 1618-9 respectively. Both used Grapheus’ distinctive face for depictions as an Apostle in their early religious paintings. We showed the museum’s Bust of an Apostle by Jordaens as a comparative example (oil on canvas, 59 x 48 cm, Royal Museums of Fine Arts of Belgium, inv. no. 121 – when it was first listed in 1806, and for many years afterwards, it was believed to be by Van Dyck). Further information on Grapheus, Jordaens and Van Dyck can be found in the recent exhibition catalogue, Abraham Grapheus, model van Jacob Jordaens, Museum voor Schone Kunsten Gent, 2012, including an image of a similar painting in the Kunsthalle, Hamburg (inv. no. 82) but with major differences.

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