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

Portrait of a Family - Philip Fruytiers
Nicolaas Rockox - Attributed to Peter Paul Rubens - 1613 - 1615
Portrait of Frans Wynckelman (+1725) - Jacob van Oost II - 1709 - 1710
Portrait of Charles de Longueval, Comte de Bucquoy - Lucas Vorsterman (I) - 1621
Portret van Karel Wouters - Anonymous - 1601 - 1700
Portrait of a Theologue and his Secretary - Jacob van Oost I - 1668
Albert VII; portrait of the archduke - Jonas Suyderhoef - 1644 - 1650
Three woman at the tomb - left Mary Magdalene - right Sister M. Verguyt - Anonymous - 1645
Portrait of a Man in a Guirland - Daniël Seghers
Portrait of Jan van de Vijvere, Dean of the Surgeons' Guild in Bruges - Jacob van Oost I - 1660 - 1670
Portrait of a Woman - Cornelis de Vos
Cesare Alessandro Scaglia di Verrua, Abbé of Staffarda and Mandanici - Anthony van Dyck

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.