Joris Vekemans  - Cornelis de Vos - circa 1625
Joris Vekemans  - Cornelis de Vos - circa 1625
Joris Vekemans  - Cornelis de Vos - circa 1625
Joris Vekemans  - Cornelis de Vos - circa 1625
Joris Vekemans  - Cornelis de Vos - circa 1625

Artworks with the same keyword

Gregorius Martens, Mayor of Antwerp and Dean of the Guild of Saint Luke
 - Jacob Denys
The Citizens of Antwerp bring back to Saint Norbert the Monstrance and other Sacred Vessels that they had hidden from Tankelin - Cornelis de Vos - 1630
St Clare of Assisi - Peter Paul Rubens - 1620
Albert VII; portrait of the archduke - Jonas Suyderhoef - 1644 - 1650
Tomb of Monseigneur Antonius Triest - Jerôme Duquesnoy II
Archduke Albert and the Infanta Isabella in the garden of Coudenberg Palace, Brussels - Jan Brueghel II - 1620s
Maximus Gerardi - Pieter Thijs
Portrait of Pieter C. van der bruggen (+1699) - Jacob van Oost II - 1695
Smell - Gonzales Coques
The Sculptor Willem Kerricx and his Son Willem Ignatius - Jacob Denys
Guardian portrait of A. Voet - Anonymous - 1601 - 1700
Helena Fourment - Jan Boeckhorst

Joris Vekemans

Artist: 
Cornelis de Vos
Dated: 
circa 1625
Material : 
oil on panel
Dimensions: 
86.0 cm x 123.3 cm
Inventory number: 
MMB.0072
Museum:
Museum Mayer van den Bergh Antwerp
Subcategory:
17th century Portraits
Type:
Painting

Joris Vekemans (1590-1625) was a rich Antwerp businessman who died at an early age. His wealth can be gauged from the series of portraits of his family that he ordered from Cornelis de Vos. The fact that he commissioned them from one of Antwerp’s most famous specialist of children’s portraits is already indicative, but the portraits themselves also radiate his prosperity.

The museum possesses four of them. In 2006 a fifth portrait was lent by the King Baudouin Foundation, which had purchased it from a private collector. The entire set must have consisted of six panels. They were done as pendants: Joris and his wife Maria (d. 1664) form one pair. A second was formed by Frans, who is four or five years old here, and his sister Elisabeth or Cornelia, who only differed by one year. Jan, the eldest son, may have formed a pendant with the other sister. The subjects in each pair adopt the same pose, the backgrounds correspond, and the painter used a similar palette.