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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#0072
12. Jan de Herdt, Crucifixion, drawing, Warsaw, Muzeum Narodowe
drawing and technique. He was right in sensing a combination of Venetian and Flemish tra-
ditions in them, but not so much in indicating Rubens as Herdt’s pattern. In the composition
Erminia at the Shepherds’ (Fig. 3), G. Heinz43 saw Jordaens’s influence, especially in the peasant
types, while Erminia in her theatrical attire, corresponds in his opinion to Strozzi’s representa-
tions on the same subject. The observation is correct, hut besides Herdt’s link with Jordaens,
also C. de Crayer’s influence may be traced in this composition, particularly in the peasant
figurę who is reminiscent of the old men in some of the artist’s religious compositions. Venetian
influence, apart from Erminia who represents a type reminiscent of women in Strozzi’s paintings,
is evident in Herdt’s manner of painting, his combination of a figural scene with landscape,
and in the animal motif, a remote echo of pastorał scenes painted by the Bassani. Herdt’s other
paintings for Gerusalemme Liberata reveal a similar blend of Venetian and Flemish traditions.
Their refined colour-scheme, with prevalence of whites, silvery and golden tones, combined with
blues, with strong accents of reds, purples, browns and greens, their fusion of figural scenes and
landscapes, their light-and-shade effects and an impressional way of painting are altogether
43. G. Heinz, op. cit., pp. 157—158.
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drawing and technique. He was right in sensing a combination of Venetian and Flemish tra-
ditions in them, but not so much in indicating Rubens as Herdt’s pattern. In the composition
Erminia at the Shepherds’ (Fig. 3), G. Heinz43 saw Jordaens’s influence, especially in the peasant
types, while Erminia in her theatrical attire, corresponds in his opinion to Strozzi’s representa-
tions on the same subject. The observation is correct, hut besides Herdt’s link with Jordaens,
also C. de Crayer’s influence may be traced in this composition, particularly in the peasant
figurę who is reminiscent of the old men in some of the artist’s religious compositions. Venetian
influence, apart from Erminia who represents a type reminiscent of women in Strozzi’s paintings,
is evident in Herdt’s manner of painting, his combination of a figural scene with landscape,
and in the animal motif, a remote echo of pastorał scenes painted by the Bassani. Herdt’s other
paintings for Gerusalemme Liberata reveal a similar blend of Venetian and Flemish traditions.
Their refined colour-scheme, with prevalence of whites, silvery and golden tones, combined with
blues, with strong accents of reds, purples, browns and greens, their fusion of figural scenes and
landscapes, their light-and-shade effects and an impressional way of painting are altogether
43. G. Heinz, op. cit., pp. 157—158.
62