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

Benedictus van Thulden, prior van de Sint-Bernardusabdij in Hemiksem - Theodoor van Thulden - 1660
Portrait of a Woman - Jacob Jordaens I
Two portraits of Peter Paul Rubens and Anthony van Dyck - Paulus Pontius (I) - 1618 - 1658
Frans Vekemans  - Cornelis de Vos - circa 1625
The Tribunal of the Brabant Mint in Antwerp - Maerten de Vos - 1594
Portrait of A. van Volden (+1697) - Jacob van Oost II - 1601 - 1700
The Sculptor Willem Kerricx and his Son Willem Ignatius - Jacob Denys
Portrait of Lady Anne Rushout - Marcus (II) Gheeraerts - 1631
Portrait of Leonard van Kerckhove, King of the Guild of St. George in Bruges - Jacob van Oost II - 1665
Portrait of Claude de Corte (+1687) - Anonymous - 1674
Portrait of a Boy - Joannes Fijt
Portrait of the Count-Duke of Olivares - Erasmus Quellinus II - 1640

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.