DOI Heft:
Nr. 2-4
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#0066
5. Jan de Herdt, Rinaldo and Armida in Armida’s Magie Garden, oil on canvas, Moravska
Galerie in Brno (photo: Moravska Galerie)
Counting Money (Fig. 2)29, both signed and dated 1663, now in the Staatliche Kunsthalle in
Karlsruhe, originally in the collection of margrave Herman von Baden, were prohably exeeuted
at the beginning of Herdt’s stay in Vienna. It is a likely hypothesis that they reached the mar-
grave’s collection through the Forhoudt house in Yienna, with which the Herdt brothers were
on close terms and of which other sources say that it sold paintings to margrave Herman von
Baden. These two portraits are among Herdt’s highest achievements. They combine a Flemish
insight — evident in the rendering of the characters and the representational quality mani-
fested by their postures, which effect is enhanced by the background drapery in the case of the
małe sitter’s and a prcdilection for details, typical of minor masters.
In 1666, Herdt left Vienna for Brno, but his contacts with the city continued, which is testified
by his later work. His stay in Brno is acknowledged several times in studies dedicated to the
history of art in Moravia and in 19th century guides to Brno and environs. The earliest mention
■comes from Cerroni’s manuscript of Geschichte der bildenden Kiinste in Mdhren und Schlesien
from 180730. The author mentions three paintings by Herdt in Brno, namely, St James on Hor-
29. J. Lauts, Katalog alter Meister bis 1800. Karlsruhe, 1966, Nos. 189 and 190, p. 142,figs, there also earlier literaturę.
30. Statni Oblastm Archiv, Brno, III, p. 112. The Christian names quoted by Cerroni in connection with the artist’s surname,.
Johann Daniel, probably result from Cerroni’s confusing Herdt with Johann Daniel Herz, a draughtsman and engraver
of Augsburg (1693—1754).
56
Galerie in Brno (photo: Moravska Galerie)
Counting Money (Fig. 2)29, both signed and dated 1663, now in the Staatliche Kunsthalle in
Karlsruhe, originally in the collection of margrave Herman von Baden, were prohably exeeuted
at the beginning of Herdt’s stay in Vienna. It is a likely hypothesis that they reached the mar-
grave’s collection through the Forhoudt house in Yienna, with which the Herdt brothers were
on close terms and of which other sources say that it sold paintings to margrave Herman von
Baden. These two portraits are among Herdt’s highest achievements. They combine a Flemish
insight — evident in the rendering of the characters and the representational quality mani-
fested by their postures, which effect is enhanced by the background drapery in the case of the
małe sitter’s and a prcdilection for details, typical of minor masters.
In 1666, Herdt left Vienna for Brno, but his contacts with the city continued, which is testified
by his later work. His stay in Brno is acknowledged several times in studies dedicated to the
history of art in Moravia and in 19th century guides to Brno and environs. The earliest mention
■comes from Cerroni’s manuscript of Geschichte der bildenden Kiinste in Mdhren und Schlesien
from 180730. The author mentions three paintings by Herdt in Brno, namely, St James on Hor-
29. J. Lauts, Katalog alter Meister bis 1800. Karlsruhe, 1966, Nos. 189 and 190, p. 142,figs, there also earlier literaturę.
30. Statni Oblastm Archiv, Brno, III, p. 112. The Christian names quoted by Cerroni in connection with the artist’s surname,.
Johann Daniel, probably result from Cerroni’s confusing Herdt with Johann Daniel Herz, a draughtsman and engraver
of Augsburg (1693—1754).
56