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#0095
clii 1 <1 supporting St Helen’s cloak is similar to Amor in Jan van den Iioecke’s painting Amor
rincit omnia131 (Vienna, Kunstliistorisches Museum, Fig. 47).
Herdt’s latest paintings that I have been ablc to locate are St John on the Island of Patmos
(signed and dated 1684, Fig. 48) and St John the BaptisP~° (Fig. 49, both in the Archbishops’s
Pałace in Prague). They are very damaged, but one cannot help noticing that they are of poor
artistic ąuality, testifying to the decline of his skill at the end of his life.
It would be difficult to indicate Herdt’s teacher on the basis of his oeuvre. The geometrie,
sketchlike manner of drawing would speak in favour of Jordaens. Yet van Dyck’s influence is
so marked in his paintings and some of his drawings, e.g. the Crucifixion, that one is tempted
to see van Dyck as Herdt’s master. C. de Crayer, whose influence can also be traced in some of
Herdt’s drawings and paintings discussed above, may likewise be taken into account. At the
current stage of research on Herdt, the ąuestion of his teacher remains unsettled. Like many of
84. G. Heinz, Jan van den HoecJce und die Niederlander in Wien, op. cit.,p. 143, Fig. 133.
85. St John on the Island of Patmos, oil on canvas, 192 x 145 cm; St John the Baptist, 192 x 145 cm. R. Kuchyiika, ,,Inventar
obrazu a gobelinu chovanycb v arcibiskupskem palaci v Praze”, Pamatky archeologickó, XXXIV, 1924—1925, p. 503,
no. 256, 257; P. Toman, Novy slovnik ćeskoslovenskycli vytvarnych umelcu, Praha, 1947, I, p. 322; Bartusek, op. cit., p. 74.
My tbanks for tbe information and bibliographic directions go to Dr L. Slavicek of tbe Narodnf Galerie in Prague.
46. Caspar de Crayer, Virgin with Child Adored by Saints, oil on canvas, Meppen, Cymnasial-
kirche (photograplied from a reproduction)
85
rincit omnia131 (Vienna, Kunstliistorisches Museum, Fig. 47).
Herdt’s latest paintings that I have been ablc to locate are St John on the Island of Patmos
(signed and dated 1684, Fig. 48) and St John the BaptisP~° (Fig. 49, both in the Archbishops’s
Pałace in Prague). They are very damaged, but one cannot help noticing that they are of poor
artistic ąuality, testifying to the decline of his skill at the end of his life.
It would be difficult to indicate Herdt’s teacher on the basis of his oeuvre. The geometrie,
sketchlike manner of drawing would speak in favour of Jordaens. Yet van Dyck’s influence is
so marked in his paintings and some of his drawings, e.g. the Crucifixion, that one is tempted
to see van Dyck as Herdt’s master. C. de Crayer, whose influence can also be traced in some of
Herdt’s drawings and paintings discussed above, may likewise be taken into account. At the
current stage of research on Herdt, the ąuestion of his teacher remains unsettled. Like many of
84. G. Heinz, Jan van den HoecJce und die Niederlander in Wien, op. cit.,p. 143, Fig. 133.
85. St John on the Island of Patmos, oil on canvas, 192 x 145 cm; St John the Baptist, 192 x 145 cm. R. Kuchyiika, ,,Inventar
obrazu a gobelinu chovanycb v arcibiskupskem palaci v Praze”, Pamatky archeologickó, XXXIV, 1924—1925, p. 503,
no. 256, 257; P. Toman, Novy slovnik ćeskoslovenskycli vytvarnych umelcu, Praha, 1947, I, p. 322; Bartusek, op. cit., p. 74.
My tbanks for tbe information and bibliographic directions go to Dr L. Slavicek of tbe Narodnf Galerie in Prague.
46. Caspar de Crayer, Virgin with Child Adored by Saints, oil on canvas, Meppen, Cymnasial-
kirche (photograplied from a reproduction)
85