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#0077
19. Anthonie van Dyck, Crucifixion, drawing, London, British Museum (photographcd from
a reproduction).
20. Anthonie van Dyck, Crucifixion, Rotterdam, Museum Boymans van Beuningen, (photo-
graphed from a reproduction).
(Fig. 18), related to the former work, and the Baptism of Christ™. The most interesting in this
group of drawings is the Crucifixion (Fig. 12), signed I. D. HERDT: F at the bottom on the
left. It reveals the closest stylistic links with van Dyck’s two compositions on the same subject
now in the Department of Prints and Drawings of the British Museum59 60 (Fig. 19) and the Museum
Boymans van Beuningen in Rotterdam61 (Fig. 20). The generał concept of FIerdt’s drawing,
the number of figures in the foreground limited to three, i.e. the Yirgin Mary, Mary Magdalenę
and St John, and the somewhat sketchy composition — all this brings the drawing close to
van Dyck’s work in the British Museum. On the other hand, the treatment of detail: the Virgin
dramatically spreading her arms, her attire with the cliaraeteristic broad sleeves, which makes
the gesture of her right hand morę conspicuous, and the rendering of the figurę of Mary Magdaleno
embracing the Holy Cross — all this brings van Dyck’s Rotterdam composition to mind. For all
the similarities, Herdt’s work is a manifestation of his creative individuality. The expression of
the movements, taken over from van Dyck, acąuired in his composition a theatrical quality
characteristic of most of his works, and the gesture of St JohiTs extended hand with pointed
fingers transformed into a mannerism typical of a number of Herdt’s compositions. The vantage
point seems to be below the scene, the background is markedly lowered, and the top is arc-shaped,
59. 261x202 mm, inv. no. 146564/125 MN.
60. Cf. H. Yey, op. cit., No. 124, Fig. 161.
61. ibid. No. 126, Fig. 162.
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a reproduction).
20. Anthonie van Dyck, Crucifixion, Rotterdam, Museum Boymans van Beuningen, (photo-
graphed from a reproduction).
(Fig. 18), related to the former work, and the Baptism of Christ™. The most interesting in this
group of drawings is the Crucifixion (Fig. 12), signed I. D. HERDT: F at the bottom on the
left. It reveals the closest stylistic links with van Dyck’s two compositions on the same subject
now in the Department of Prints and Drawings of the British Museum59 60 (Fig. 19) and the Museum
Boymans van Beuningen in Rotterdam61 (Fig. 20). The generał concept of FIerdt’s drawing,
the number of figures in the foreground limited to three, i.e. the Yirgin Mary, Mary Magdalenę
and St John, and the somewhat sketchy composition — all this brings the drawing close to
van Dyck’s work in the British Museum. On the other hand, the treatment of detail: the Virgin
dramatically spreading her arms, her attire with the cliaraeteristic broad sleeves, which makes
the gesture of her right hand morę conspicuous, and the rendering of the figurę of Mary Magdaleno
embracing the Holy Cross — all this brings van Dyck’s Rotterdam composition to mind. For all
the similarities, Herdt’s work is a manifestation of his creative individuality. The expression of
the movements, taken over from van Dyck, acąuired in his composition a theatrical quality
characteristic of most of his works, and the gesture of St JohiTs extended hand with pointed
fingers transformed into a mannerism typical of a number of Herdt’s compositions. The vantage
point seems to be below the scene, the background is markedly lowered, and the top is arc-shaped,
59. 261x202 mm, inv. no. 146564/125 MN.
60. Cf. H. Yey, op. cit., No. 124, Fig. 161.
61. ibid. No. 126, Fig. 162.
67