ab. 1548-1554 Attributed to Catharina van Hemessen - Portrait of a Man
(Rhode Island School of Design Museum)
Caterina or Catharina van Hemessen (1528 – after 1565) was a Flemish Renaissance painter. She is the earliest female Flemish painter for whom there is verifiable extant work. She is mainly known for a series of small scale female portraits completed between the late 1540s and early 1550s and a few religious compositions.
Caterina van Hemessen - Portrait of a Woman - 1548
Portrait of a woman, thought to be a self-portrait of the Antwerp painter Catharina van Hemessen. At half-length, hands held in front of her belly, wearing a chain around her neck.
Caterina or Catharina van Hemessen (1528 – after 1565) was a Flemish Renaissance painter. She is the earliest female Flemish painter for whom there is verifiable extant work. She is mainly known for a series of small scale female portraits completed between the late 1540s and early 1550s and a few religious compositions.
A number of obstacles stood in the way of women of her time who wished to become painters. Their training would involve both the dissection of cadavers and the study of the nude male figure while the system of apprenticeship meant that the aspiring artist would need to live with an older artist for 4–5 years, often beginning from the age of 9-15. For these reasons, female artists were extremely rare, and those that did make it through were typically trained by a close relative, in van Hemessen’s case, by her father, Jan Sanders van Hemessen.
Catharina van Hemessen, Self-portrait, 1548
Caterina or Catharina van Hemessen (1528 – after 1565) was a Flemish Renaissance painter. She is the earliest female Flemish painter for whom there is verifiable extant work. She is mainly known for a series of small scale female portraits completed between the late 1540s and early 1550s and a few religious compositions.
Van Hemessen is often given the distinction of creating the first self-portrait of an artist (of either gender) depicted seated at an easel. This portrait, created in 1548, shows the artist in the early stages of painting a portrait and is now part of the collection of the Kunstmuseum Basel. Other paintings by van Hemessen are in the Rijksmuseum in Amsterdam and in the National Gallery, London.
A number of obstacles stood in the way of women of her time who wished to become painters. Their training would involve both the dissection of cadavers and the study of the nude male figure while the system of apprenticeship meant that the aspiring artist would need to live with an older artist for 4–5 years, often beginning from the age of 9-15. For these reasons, female artists were extremely rare, and those that did make it through were typically trained by a close relative, in van Hemessen’s case, by her father, Jan Sanders van Hemessen.
She was the daughter of Jan Sanders van Hemessen (c. 1500-after 1563), a prominent Mannerist painter in Antwerp who had studied in Italy. Her father is believed to have been her teacher and she likely collaborated with him on many of his paintings She became a master in the Guild of St. Luke and was the teacher of three students.
Van Hemessen was a successful painter in her lifetime. She gained an important patron in the 1540s in the person of Maria of Austria, who served as regent of the Low Countries on behalf of her brother Charles V. In 1554, van Hemessen married Christian de Morien, an organist at the Antwerp Cathedral, which was an important position at that time. In 1556, when Maria of Austria returned to Spain, Catharina and her husband moved there, at the invitation of her patron. Two years later, when Maria died, Catharina was given a sizeable pension for life. Catharina and her husband returned to Antwerp where they are recorded in 1561. At that time the couple was childless. Her husband received an appointment to work in ’s-Hertogenbosch and the couple moved there around 1565.
In her lifetime she was mentioned by two Italian artist biographers, Lodovico Guicciardini in his Description of the Low Countries of 1567 and Giorgio Vasari in his Vite of 1568.
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Joseph Two Bulls, Dakota Sioux, by Heyn & Matzen Photo, 1900
Attributed to Gerard Soest (b.1605 - d.1681), ‘Portrait of a Lady’, oil on canvas, English, c.1650-55, currently in the collection of Dyrham Park House, Gloucestershire, England
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Un drôle de paroissien… Jean-Paul Adam Mokiejewski plus connu sous le nom de Jean-Pierre Mocky (1929-2019)
(Photos - 1 : Gilles Dacquin - 3 : Arnaud Février - 5 : Jean-Pierre Bonnotte - 8 : Harcourt)
Salvador Dalí (1904-1989)
Figure in Profile, 1925 (the artist’s sister, Anna Marie)
oil on cardboard 74 x 49,5 cm
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