JACOB JORDAENS
1593-167 8
84 Man Kneeling, Facing Right*
Sketches of Figures
v
Black chalk, brown and ocher wash, and violet and mas-
sicot gouache (recto); black chalk (verso); H: 36.9 cm
(i4I/2Ín.); W: 33.4 cm (i3^3 /i6Ín.)
87.00.130
MARKS AND INSCRIPTIONS: (Verso) inscribed No A in
brown ink.
PROVENANCE: Art market, Paris; J. P. Dumont, Paris
(sale, Hôtel Drouot, Paris, June 19, 1986, lot 212); art
market, London.
EXHIBITIONS: None.
BIBLIOGRAPHY: R.-A. d'Hulst, Jordaens Drawings (Lon-
don and New York, 1974), v°ls- !> PP- 202-3, under no.
Ai03a; no. AiO3b; 2, p. 349, under no. A2Ó8.MAN KNEELING, FACING RIGHT is ONE OF A GROUP
of monumental draped figure studies by Jordaens.^1 Its
large scale is characteristic of this group, as is its painterly
use of colored pigment to model the drapery. Jordaens
applied a thick coat of massicot gouache to highlight the
cloak and violet wash to articulate the strip of lining vis-
ible behind the figure's left hand. As noted by d'Hulst
(1974, vol i., pp. 202-3), the sheet is most similar to a
study of a kneeling woman facing right in the Yale Uni-
versity Art Gallery, New Haven (inv. 1959.9.5),^2 which
also has figure studies in black chalk on the verso. Neither
drawing has been connected to a further work. D'Hulst
(ibid.) suggested that the present example might have
been made as a study for an apostle kneeling in the fore-
ground of an Assumption of the Virgin, as was the drawing
from this group in the Kupferstichkabinett, Berlin (inv.
2825). Although he believed that both the Getty and Yale
drawings were made circa 1630-35, their stylistic affinity
to Man Standing with Raised Hand, a study in the Institut
Néerlandais (inv. 3029) that served as a basis for Saint Ivo
in the painting Saint Ivo, Patron of Lawyers of 1645 (Mu-
sées Royaux des Beaux-Arts de Belgique), suggests a
somewhat later date.^3 The compositional study on the
verso of the Getty drawing is too vague to allow an iden-
tification of the subject.^4- The others are in the Yale University Art Gallery (Everett
V. Meeks Fund, inv. 1959.9.5); Museum Boymans-van Beu-
ningen (inv. v.83); formerly Alfred Brod Gallery, London; In-
stitut Néerlandais (inv. 3029); Musée des Beaux-Arts, Arras
(inv. N-2-I9Ó9); and Kupferstichkabinett, Berlin (inv. 2825). - E. Haverkamp-Begemann and A.-M. Logan, European
Drawings and Watercolors in the Yale University Art Gallery 1500-
1900 (New Haven and London, 1970), vols, i, no. 579; 2, pi.
- The connection of the Paris drawing to the painting was rec-
ognized by J. S. Held, in "Tekeningen van Jacob Jordaens
(1593-1678)," Kunstchronik 20, no. 4 (April 1967), pp. 95-96. - D'Hulst has commented on the frequent occurrence of ab-
breviated compositional sketches on the versos of Jordaens's
drawings (1984, vol. i, p. 202, under no. 1033). Ones com-
parable to this example include the black chalk sketch Pan Teased
by Nymphs (location unknown). See R. A. d'Hulst, 'Jordaens
Drawings: Supplement I," Master Drawings 18, no. 4 (Winter
1980), pi. 23.
200 FLEMISH SCHOOL • JORDAENS