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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#0091
43. Jan de Herdt, Baptism of Christ, drawing, Warsaw, Muzeum Narodowe
Lubomirski’s portrait. The sitter, the second son of Louis Raduit de Souches, the famous de-
fender of Brno against the Swedes, himself hetman of the district, is presented in a suit of armour,
fuli length, three ąuarters to the spectator, his head facing the spectator. A cloak, which looks
like a drapery, falls down his shoulders and in fact merges with a drapery in the hackground;
his łeft hand rests on a pedestal, his right hand on his hip; his hehnet is in front of him on a stool
left of him. In the hackground on the left, hehind a hanister, a town on fire can be seen. The
colour-scheme is dominated by gold and silver tones with accents of red and green in the hack-
ground. The portrait, painted with much panache, giving a perfect rendering of the lustre of
the sitter’s clothes and suit of armour, is, in fact, a smali sketch, hence the rather sweeping
form, and a certain superficiality of characterisation, with some elements of the sitter’s clothes
and the scenery merely outlined.
Related to the portraits discussed above is a print mentioned by Singer74 that I have not
been able to locate. It represents Heinrich Wilhelm Starhemberg. Once in the Municipal Library
in Wrocław, it was mentioned by C. Meyssens alongside some of the prints included in the His-
toria di Leopoldo Cesare.
On October 27, 1953, ILerdt’s painting Virgin appearing to St Bernard of Clairvaux75, signed
74. H. W. Singer, Allgemeiner Bildniskatalog, XII, Leipzig, 1934, no. 87021, p. 21.
75. Oil on canvas, 147 X 102 cm; signed and dated: I.D. Herdt f. 1672. My thanks go to Dr G. Kottings of the Rijksbureau voor
Kunsthistorische Documentatie in the Hague to whom I owe the information.
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Lubomirski’s portrait. The sitter, the second son of Louis Raduit de Souches, the famous de-
fender of Brno against the Swedes, himself hetman of the district, is presented in a suit of armour,
fuli length, three ąuarters to the spectator, his head facing the spectator. A cloak, which looks
like a drapery, falls down his shoulders and in fact merges with a drapery in the hackground;
his łeft hand rests on a pedestal, his right hand on his hip; his hehnet is in front of him on a stool
left of him. In the hackground on the left, hehind a hanister, a town on fire can be seen. The
colour-scheme is dominated by gold and silver tones with accents of red and green in the hack-
ground. The portrait, painted with much panache, giving a perfect rendering of the lustre of
the sitter’s clothes and suit of armour, is, in fact, a smali sketch, hence the rather sweeping
form, and a certain superficiality of characterisation, with some elements of the sitter’s clothes
and the scenery merely outlined.
Related to the portraits discussed above is a print mentioned by Singer74 that I have not
been able to locate. It represents Heinrich Wilhelm Starhemberg. Once in the Municipal Library
in Wrocław, it was mentioned by C. Meyssens alongside some of the prints included in the His-
toria di Leopoldo Cesare.
On October 27, 1953, ILerdt’s painting Virgin appearing to St Bernard of Clairvaux75, signed
74. H. W. Singer, Allgemeiner Bildniskatalog, XII, Leipzig, 1934, no. 87021, p. 21.
75. Oil on canvas, 147 X 102 cm; signed and dated: I.D. Herdt f. 1672. My thanks go to Dr G. Kottings of the Rijksbureau voor
Kunsthistorische Documentatie in the Hague to whom I owe the information.
81