Portrait of a gentleman at the age of fifty-nine, Michiel Jansz van Mierevelt (Delft 1566 – 1641) circle

Michiel Jansz van Mierevelt (Delft 1566 – 1641) circle

Portrait of a Gentleman in Dark Suit with Ruff, Aged Fifty-Nine, 1624
At the top right the family crest, the age of the depicted subject “59”, and the date “1624”

Oil painting on canvas

55 x 42 – Framed 86 x 73 cm

Ancient Flemish painting, made in oil on canvas, depicting a distinguished gentleman immortalised at the age of 59 – as indicated by the inscription – and dressed in the elegant clothes of the time, precisely a simple black suit, closed on the chest with a row of buttons and enriched by a surprising, wide white pleated ruff defined as 'mill wheel'.

The realization of the details and the realism with which it is painted are surprising, with particular attention paid to the gaze, which almost seems to dialogue with the viewer thanks to an almost hypnotic gaze that looks directly outside the painting.

This is a work easily attributable to an author from the school of the famous Flemish portraitist Michiel Jansz van Mierevelt (Delft 1566 – 1641), active in the first part of the seventeenth century (the work is dated 1624).

It should be noted that portraiture in Delft at the beginning of the 1550th century was dominated by Herman van der Mast (c.1610-c.1540), Jacob I Willemsz Delff (c.1601-1567) and above all Michiel Jansz. van Mierevelt (1641-XNUMX) who, upon the death of the first two, acquired almost all of the city's wealthy clientele.

He became the undisputed reference of this art, renowned for his extraordinary talent as a painter and for his ability to transpose the psychological acuity of his models onto canvas.

Our author inherits his great mastery, capable of giving life to the portrayed, capturing its essence.

The composition of the painting is very interesting: the man is placed in a dark and austere background, which highlights his figure and his clothes. Although extremely simple, it is worth noting the refinement in the treatment of the fabrics and the collar, highlighted by a bright white.

The austerity and imposing nature of the man contrast sharply with the flower he holds in his hands, with an almost awkward gesture: a small pink carnation, which functions as an oxymoron and has the power to soften and soften such a severe figure.

In reality, the flower could be the bearer of a symbolic value, a very frequent iconographic attribute in the history of Renaissance art, used not only in devotional paintings for the clear Christological allusions but also cited in portraits to symbolize love and emotional bonds.

Good condition of conservation; the painting is framed in an elegant ebonized wooden frame, which further enhances the beauty and importance of the work.

ADDITIONAL INFORMATION:

The work sold is accompanied by a certificate of authenticity and guarantee.

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