Jacob Cornelisz. van Oostsanen Painting a Portrait of His Wife

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Jacob Cornelisz. van Oostsanen Painting a Portrait of His Wife

Artist Dirck Jacobsz. Dutch, ca. 1497-1567

Dateabout 1550

Dimensionspainting: 24 7/16 x 19 7/16 in. (62.1 x 49.4 cm)
framed: 27 3/4 x 23 x 1 3/4 in. (70.5 x 58.4 x 4.4 cm)

Mediumoil on wood panel

ClassificationPaintings

Credit LinePurchased with funds from the Libbey Endowment, Gift of Edward Drummond Libbey

Object number

1960.7

On View

Toledo Museum of Art (2445 Monroe Street), Gallery, 19

Collections

Paintings

Published References

Steinbart, K., "Nachlese in Werke des Jacob Cornelisz," Marburger Jahrbuch für Kunstwissenscahft, V., 1929, p. 37, pl. 70.

Friedlander, M. J., Die altniederländische Malerei, Leyden, 1935, XII, pp. 97, 197, no. 289a.

"The Earl of Lincoln's Collection," Art News, May 8, 1937, vol. 35, no. 32, p. 14, repr. on cover.

"Masterpieces from Clumber: Pictures Lord Lincoln is Selling," Illustrated London News, May 29, 1937, p. 1006, repr.

Hoogewerff, G., De Noord-Nederlandsche Schilderkunst, The Hague, 1939, III, p. 133.

Amsterdam, Rijksmuseum, Middleleeuwse Kunst de Noordelijk Nederlanden, 1958, p. 101, no. 111.

Hofstede, C. Muller, "Das Selbstbildnis des Lucas van Leyden im Herzog Anton Ulrich-Museum, zu Braunschweig," Festschrift Friedrich Winkler (ed., H. Möhle), Berlin, 1959, p. 234.

Museum News, New Series, v. 5, no. 3, Autumn 1962, p. 59, repr.

Wittmann, Otto, "Museum News, The Toledo Museum of Art," Nuova serie, vol. 5, no. 3, Toledo, Autunno 1962, in Emporium, vol. CXXXVI, no. 816, no. 12, p. 287, repr.

"La chronique des arts Supplement a La Gazette des Beaux-Arts, no. 1129, Février, 1963, p. 25, repr. no. 108.

Birren, Faber, History of Color in Painting with New Principles of Color Expression, New York, Reinhold, 1965, repr. p. 33.

Kindlers Malerei Lexicon, bd. I, A-C, Zurich, Kindler Verlag, 1965, p. 791, repr. p. 790.

Wittmann, Otto, "The Golden Age of the Netherlands," Apollo, vol. 86, no. 70, Dec. 1967, p. 468, repr. (b&w), fig. 7.

"Painting in Northern Europe 1450-1550," Toledo Museum News, New Series, vol. 13, no. 2, Summer 1970, p. 39, repr.

Filedt Kok, J. P., "Underdrawing and Drawing in the Work of Hieronymus Bosch..." Simiolus, vol. 6, no. 3/4, 1972/1973, p. 153, repr. fig. 17.

Friedländer, M. J., Early Netherlandish Painting, (ed., H. Pauwels), New York, 1975, XII, pp. 53, 119, no. 289a, pl. 155.

The Toledo Museum of Art, The Toledo Museum of Art, European Paintings, Toledo, 1976, pp. 118-119, pl. 86.

Knut, Nicolaus, DuMont's Handbuch der Gemäldekunde, Cologne, 1979, p. 23, repr. fig. 15.

Snyder, James, Northern Renaissance Art, New York, 1985, p. 449, fig. 519.

Freedberg, David, Iconoclasts and Their Motives, Maarssen, 1985, p. 32, 52, no. 98 & 99, fig. 18-20.

Filedt Kok, J.P., ed. et al., Kunst voot de beeldenstorm: Noornederlandse kunst 1525-1580, Staatsuitgeverij, 1986, pp. 197, 198, repr. (as by Dirck Jacobsz).

Steinberg, Leo, "Art and Science: Do They Need to be Yoked?" in Graubard, Stephen, ed., Art and Science, Boston, 1986, pp. 11-13, repr. pp. 12, 13.

Steinberg, Leo, "Art ans Science: Do They Need to be Yoked?," Daedalus, vol. 115, no. 3, Summer, 1986, pp. 11-13, repr.

Woodall, "Amsterdam, Rijksmuseum: Art Before Iconoclasm," Burlington, vol. 129, no. 1008, March 1987, p. 201.

Freedberg, David, The Power of Images: Studies in the History and Theory of Response, Chicago, 1989, p. 415, 502 n. 79, fig. 185, p. 416.

Il ritratto: gli artisti, i modelli, la memoria, Florence, 1996, p. 59, fig. 77 (col.) [in VF].

Wodds-Marsden, Joanna, Renaissance Self-Portraiture, New Haven, 1998, p. 210, 236, pl. 153, p. 237.

Dickey, Stephanie S., "Rembrandt and Saskia: Art, Commerce, and the Poetics of Portraiture," in Rethinking Rembrandt, Zwolle, Waanders, 2002, p. 17, 208, n. 1, fig. 1, p. 18.

Bomford, Kate, "Peter Paul Rubens and the Value of Friendship," in Virtus, Virtuositeit en Kunstliefhebbers in de Nederlanden, 1600-1700, Nederlands Kunsthistorisch Jaarboek, Vol. 54, 2003, p. 245, repr. fig. 11.

Woodall, Joanna, Anthonis Mor: Art and Authority, Zwolle, Waanders, 2007, pp. 447, 449, 452, 457-8, fig. 172, p. 450.

Adams, Ann Jensen, Public Faces and Private Identities in Seventeenth-Century Holland: Portraiture and the Production of Community, Cambridge, Cambridge University Press, 2009, pp. 31, 50, 283 n164, fig. 5, p. 33 (det.).

Toledo Museum of Art, Toledo Museum of Art Masterworks, Toledo, 2009, p. 135 and cover, repr. (col.).

Craft-Giepmans, Sabine and Annette de Vries, Portret in Portret in de Nederlandse Kunst 1550-2012, Bussum, Uitgeverij Thoth, 2012, fig. 2 (col.) p. 15.

Meuwissen, Daantje, Jacob Cornelisz van Oostsanen (ca. 1475-1533): de Renaissance in Amesterdam en Alkmaar, Zwolle, Waanders Uitgevers, 2014, cat. 60, pp. 282-284, repr. (col.) p. 283, repr. (det.) back cover.

van Suchtelen, Ariane, Dutch Self-Portraits of the Golden Age, Zwolle, The Netherlands, Waanders Uitgevers, 2015, pp. 17-19, repr. (col.) fig. 10, p. 18.

Dijk, Sara van and Matthias Ubl, Remember Me: Renaissance Portraits,, Amsterdam, Rijksmuseum, 2021, p. 9, repr. (col.) fig. 4, p. 13.

Exhibition History

Delft, Stedelijk, "Het Prisenhof," De Schilder in zijn Wereld, 1964, p. 48, no. 29.

Amsterdam, Rijksmuseum, Kunst voor de beeldenstorm,1986, no. 74.

Alkmaar, Stedelijk Museum, Van Oostsanen (1470-1533): The Artist Revealed, March 15-June 29, 2014.

Comparative ReferencesSee also Raupp, Hans-Joachim, Untersuchungen zu Kunstlerbildnis und Kunstlerdarstellung in den Niederlanden im 17. Jahrhundert, Hildesheim, 1984, p. 77.Label TextAn artist stands before his easel, painting a portrait. He looks out, presumably at the woman whose likeness he is painting. Yet on further consideration it becomes apparent that both the painter and the painted gaze out, but at whom? Who was originally intended to view this painting? Dirck Jacobsz here depicted his deceased father, Jacob Cornelisz van Oostsanen (about 1472-1533), also a painter. The painting within the painting shows Jacobsz’s mother, who died some years after her husband, possibly around the time this panel was painted. This unusual double portrait seems to be a kind of personal memorial by the son, who would have been positioned before the panel as painter, viewer, and object of his parents’ “attention.” The picture may also have served a more public function, since it possibly was installed above the couples’ grave.