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

Two studies of a Man’s Head - Anthony van Dyck - circa 1618 - 1619
Guardian Portrait of S. Vander Banck - Anonymous - 1601 - 1700
Aubertus van Eede, Bishop of Antwerp - Erasmus Quellinus I
Title to Bartholomeus de los Rios' 'De hierarchia Mariana, Balthasar I Moretus, 1641' - Erasmus Quellinus II - 1607 - 1639
Cesare Alessandro Scaglia di Verrua, Abbé of Staffarda and Mandanici - Anthony van Dyck
Helena Fourment - Jan Boeckhorst
A Porter - Follower of Adriaen Brouwer
Portrait of a Boy - Joannes Fijt
Archduke Albert - Peter Paul Rubens - 1616
Saint Agnes and Saint Dorothea - Michaelina Wautier
Portrait of an unknown young man - Anonymous - 1640
Portrait of N. van Nieuwenhove - Anonymous - 1601 - 1700

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.