DOI Heft:
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DOI Artikel:Kozak, Anna; De Herdt, Jan [Ill.]: Jan de Herdt, a forgotten 17th century Flemish painter
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.18902#0065
4. Jan de Herdt, Mortally Wounded Clorinda Bapłised by Tancred, oil on canvas, Moravska
Galerie in Brno (photo: Morayska Galerie)
their way home from Italy. Quite a few stopped here for some time and, having found employment
.at the imperial court, shaped the image of art sponsored by the emperors. G. Heinz27 has pointed
out that, prior to Herdt’s arriyal in Vienna, artists educated on classical — Roman and Bolo-
gnese —■ patterns, ancient sculpture and tbe classical French art of Poussin and Champaigne,
were in prevalence among tlie Netherlanders active at the court of Ferdinand III and under
the auspices of Archduke Leopold Wilhelm. He quotes the names of Jan van den Hoecke, Peter
van Lint, Frans de Neve, Jan Thomas, Louis Primo, Micheline Woutiers. In the latter part of
the century, artists educated in northern Italy, on whom Yenetian art had been the prevailing
influence, like Jan Erasmus Quellinus the Younger, Adriaen Bloemart and Jan de Herdt, were
in majority. Being such a close relation to the jeweller in ordinary, Jan de Herdt certainly had
better access to the court. Denuce ąuotes from a document describing the artist as the „famous
master who paints for the Emperor”28. At the current stage of research, it is impossible to name
with all certainty any works commissioned by the court. The compositions Erminia at the Shep-
herds\ which became part of the imperial collection after it had been painted in 1667 might
have been one of them. The portraits of the Antiąue Dealer (Fig. 1), and a pendant to it,Woman
55
:27. My description of the milieu of Netherlandish artists active in Vienna is based on G. Heinz’s paper, op. cit.
:28. J. Denuce, op. cit.. p. 15.
Galerie in Brno (photo: Morayska Galerie)
their way home from Italy. Quite a few stopped here for some time and, having found employment
.at the imperial court, shaped the image of art sponsored by the emperors. G. Heinz27 has pointed
out that, prior to Herdt’s arriyal in Vienna, artists educated on classical — Roman and Bolo-
gnese —■ patterns, ancient sculpture and tbe classical French art of Poussin and Champaigne,
were in prevalence among tlie Netherlanders active at the court of Ferdinand III and under
the auspices of Archduke Leopold Wilhelm. He quotes the names of Jan van den Hoecke, Peter
van Lint, Frans de Neve, Jan Thomas, Louis Primo, Micheline Woutiers. In the latter part of
the century, artists educated in northern Italy, on whom Yenetian art had been the prevailing
influence, like Jan Erasmus Quellinus the Younger, Adriaen Bloemart and Jan de Herdt, were
in majority. Being such a close relation to the jeweller in ordinary, Jan de Herdt certainly had
better access to the court. Denuce ąuotes from a document describing the artist as the „famous
master who paints for the Emperor”28. At the current stage of research, it is impossible to name
with all certainty any works commissioned by the court. The compositions Erminia at the Shep-
herds\ which became part of the imperial collection after it had been painted in 1667 might
have been one of them. The portraits of the Antiąue Dealer (Fig. 1), and a pendant to it,Woman
55
:27. My description of the milieu of Netherlandish artists active in Vienna is based on G. Heinz’s paper, op. cit.
:28. J. Denuce, op. cit.. p. 15.