Painter and architect. Probably in Italy , active in Haarlem , Amsterdam , The Hague

Transcription

1 1 Jacob van Campen Haarlem 1596 Amersfoort 1657 Painter and architect. Probably in Italy , active in Haarlem , Amsterdam , The Hague #1 Two Studies of the Head of an Old Woman Point of brush in brown, 189x181 mm. NM 2185 (recto) / 2186 (verso)/1863

2 2 Verso: A further study of the same model, black chalk. Ruled framing lines in black ink (at the bottom on the strip of paper with the inscription). Vertical crease in the paper on the left, a small hole repaired in that area. No watermark. Chain lines mm. Numbered in the lower right corner in pen and brown ink 3. Mark of the Royal Collection (Lugt 1638). Inscribed on the old mount Netcher, and numbered 1984 (Sparre), pen and brown ink. On the verso: Mark of the Royal Collection (Lugt 1638). Provenance: Crozat; C. G. Tessin (List , p. 36v, as Vischer ; Cat. 1749, livre 17, no. 183, as Vischer ); Kongl. Biblioteket (Cat. 1790, no. 1984, as Th. Netscher); Kongl. Museum (Lugt 1638). Bibliography: L. van Puyvelde, Jordaens, Paris & Brussels 1953, no. 211; R.-A. d Hulst, De tekeningen van Jacob Jordaens, Brussels 1956, nos ; L Oeil, Jan. 1969, p. 169; J. S. Held, Jordaens at Ottawa, Burl. Mag., 1969, p. 268 (not Jordaens); E. Haverkamp-Begemann, Jacob Jordaens at the National Gallery of Canada, Master Drawings, 7 (1969), p.176 (not Jordaens); R.-A. d Hulst, Jordaens Art Bull., 51 (1969), pp. 385f, no. 152 (not Jordaens); Id.,

3 3 Jordaens drawings, Brussels 1974, no. D 38, figs. 628a, 628b (rejected); K. Andrews, Catalogue of Netherlandish Drawings in the National Gallery of Scotland, Edinburgh 1985, p. under D 1683, as Jordaens; J. S. Held, Some studies of heads by Flemish and Dutch seventeenth-century artists, Master Drawings, 23-24:1 ( ), p., pl. 28b (van Campen?). Exhibitions: Stockholm, 1953, no. 125 (Jordaens); Ottawa, National Gallery of Canada, Jacob Jordaens , , no. 152 (Jordaens). Up to the Jordaens exhibition in Ottawa , scholars generally favoured an attribution to Jordaens. Reviewing the exhibition the attribution was questioned by Held, Haverkamp-Begemann and d Hulst. Havercamp-Begeman and d Hulst suggested a Haarlem artist. All are by the same hand, but they are strongly reminiscent of the Haarlem school; in none can Jordaens style be recognized, d Hulst wrote in A decade later Keith Andrews published the Edinburgh drawing and restored the whole group to Jordaens. He did not find the alternatives suggested so far, Leendert van der Cooghen and Cornelis de Vos, convincing. He was not aware of the attribution to Jacob van Campen proposed by Julius Held later the same year. The architect van Campen is known to have also been a painter. No paintings or drawings by him were known, but Held drew attention to a print after a painting by him, representing an old woman s head in profile. The drawing is made with a brush, seemingly without an underdrawing in chalk or graphite. A first sketch in light brown, has been reworked in darker brown with a broader brush in some areas. There are severad studies in black chalk of the same model. One is on the verso, similarly done with fine outlines and various grades of shades added with hatching or cross-hatching. Heightening with white chalk can only be detected on the nose. Other chalk studies are in the National Gallery of Scotland, and in two private collections. In those cases the use of white chalk is more abundant and closer to Jordaens. However, there seems to be a difference in approach; this model is studied with a disengaged eye, the face is in itself expressive, while Jordaens usually exaggerate the expressive features of his models.

4 4 [Campen, attributed to] #2 Head of a Boy in Profile Black chalk, point of brush in brown, brown wash, reworked with the brush in grey, 102x88 mm. NM 1915/1863

5 5 Verso: Calligraphic exercises, pen and brown ink. Ruled framing line in black ink, interrupted at the chin of the boy. No watermark. Chain lines: 27 mm. Inscribed in the lower left corner Rubens, and numbered in the lower right corner 1724 (Sparre), pen and brown ink. Mark of the Royal Collection (Lugt 1638). Provenance: Provenance: Crozat; C. G. Tessin (List , p. 35v, as Rubens; Cat. 1749, livre 17, no. 141, as Rubens); Kongl. Biblioteket (Cat. 1790, no. 1724, as Rubens); Kongl. Museum (Lugt 1638). The attribution is based on the similarity with the previous drawing, a light transparent sketch with the point of brush, strengthened by a slightly darker wash. Further reworking in various shades of grey seems to be by another hand and is parly rather clumsy, in particular in the areas of the back of the head, the neck and under the cheek; the work on the profile is more subtle.