St Francis Lamenting at the Foot of the Cross

c. 1650 - c. 1670

Object data

oil on canvas

support: height 174 cm × width 122 cm

Scientific examination and reports

technical report: I. Verslype / Z. Benders, RMA, 25 May 2009

Conservation

W.A. Hopman, 1878: relined (label on the reverse)

Provenance

…; sale, Jean Adrien Snyers (1775-1841, Antwerp), sold on the deceased’s premises, Antwerp (auction house not known), scheduled for 4 May, but brought forward to 27 April 1818, no. 31 (‘Ant. Van Dyck. Jésus-Christ expirant en croix. St. François à genoux en embrace le pied […] sur toile, haut 6 pieds large 4 pieds 3 pouces [172 (?) x 112.5 cm]’), bought in;¹ purchased from Jean-Adrien Snyers by Willem I, King of the Netherlands, February 1822 and by Royal Order presented to the museum, 18 April 1822;² on loan through to the DRVK, April 1961; on loan to the States General, The Hague, since 1961

Object number: SK-A-104

Credit line: Gift of Z.K.H. Willem I

The artist

Anthony van Dyck (Antwerp 1599 - London 1641)

Anthony van Dyck was baptized in the Onze-Lieve-Vrouwekerk, Antwerp, on 22 March 1599, the seventh child of a prosperous haberdasher. He died on 9 December 1641 in Blackfriars, London, and was buried two days later in Saint Paul’s Cathedral. By then he was internationally famous, and had to his credit an oeuvre of well over seven hundred paintings, consisting mostly in portraits, but also some highly esteemed sacred and profane figure subjects. He had outlived Peter Paul Rubens (1577-1640), who had greatly influenced him in his youth, by only some eighteen months, but he was to prove the more widely influential.

Enrolled as a pupil of Hendrik van Balen (1574/1575-1632) in 1609, he became a master in the Antwerp guild of St Luke nine years later before he was eighteen and a week before he received his majority – an event perhaps connected with this father’s financial difficulties which had begun in 1615 and ended with the sale of the family house in 1620, having caused strife in the family. In the meantime, Van Dyck had earlier entered Rubens’s studio, and had perhaps already operated unofficially as an artist working from a house in Antwerp called Den Dom van Ceulen. He was the only one of Rubens’s assistants to be named in the contract for the paintings for the Antwerp Jesuit Church signed on 22 March 1620.

There is no contemporary archival evidence for the existence of a studio functioning for Van Dyck before he left Antwerp for London and Rome. However, statements given in a lawsuit in Antwerp in 1660/1661 and the number of contemporary versions of some of Van Dyck’s works of that time would indicate at the least that there was a group of artists working in Van Dyck’s milieu, however informally.³

Van Dyck left Antwerp for London in October 1620; the purpose of his short visit – he was granted permission to leave at the end of the following February – is not known, but he received a payment from King James I (1566-1625) and was expected to return in eight months. He was recorded soon afterwards as living in Rome in the same house as George Gage (c. 1582-1632), an ‘Anglo-Catholic’ employed by the British crown to advance negotiations for the prince of Wales’s ‘Spanish match’ at the papal court.⁴

In Italy, Van Dyck was active in Rome, Venice, Genoa and Palermo.⁵ He re-established himself in 1627 in Antwerp, and was appointed court painter to the governor of the Spanish Netherlands, the Archduchess Isabella (1566-1633); his practice extended to The Hague whence he was summoned on two occasions.

By the summer of 1632, Van Dyck had settled in London; he was knighted by King Charles I (1600-1649) and then granted an annual pension as a retainer. But in the spring of 1634, he was in Antwerp and by the end of the year he was living in Brussels. By March 1635 he had returned to London and was established in a studio, specially converted by the architect Inigo Jones (1573-1652), on the Thames at Blackfriars. In great demand, not only by the king as a portrait painter, Van Dyck mixed with members of the court and married in 1640 Mary Ruthven, who was of a Scots noble family. In the autumn of 1640 he was in Antwerp, and early in 1641 briefly in Paris whence he returned hoping to gain the patronage of King Louis XIII (1601-1643) and Cardinal Richelieu (1585-1642). There in November, he wrote that he was very unwell; back in London with his wife for her lying-in, he died shortly after the birth of his daughter, Justiniana.

References
S.J. Barnes, N. de Poorter, O. Millar and H. Vey, Anthony van Dyck: A Complete Catalogue of the Paintings, New Haven (Conn.)/London 2004, pp. 1-12

Entry

In spite of the very discoloured varnish, the present picture has long been recognized as having little merit; the handling would appaer summary, and the landscape is undefined; Christ’s left foot is not brushed in. The figure of Christ derives from Anthony van Dyck’s picture in Vienna, as Vey has pointed out.⁶ Although Glück believed that the Rijksmuseum picture could have been executed in Van Dyck’s studio,⁷ it seems likely that it is of a later date.

Vey suggests that the present picture is possibly ‘a more or less adequate reproduction’ of a lost painting recorded in the estate of Van Dyck’s brother Theodor (Waltman) who died in 1668: ‘Een Principael van myn broeder te weten S. Franciscus aen de voeten vant’ cruys Christi’.⁸ A picture of the same subject was later recorded in the estate of Joan Baptista Anthoine who died in Antwerp in 1691.⁹ A similar picture was offered in the Count Fraula sale, Brussels, in 1738.¹⁰

Savelsberg elaborated on the meaning of this devotional image.¹¹ Rather than worshipping the dead Christ, Saint Francis is here shown meditating on the living Christ’s wounds. Vlieghe describes a similar portrayal of the saint by Rubens as a ‘typical post-Tridentine representation of St Francis’.¹²

From the 1880 museum catalogue onwards, an incorrect provenance was given to this picture,¹³ that of a Crucifixion, bought by the Nationale Konst-Gallerij (now the Rijksmuseum) in The Hague in 1800 from the Admiralty of the Maas, as having been captured from the ship of the admiral of the Spanish Silver Fleet in 1628 by Pieter Pietersz Hein (1577-1629).¹⁴ That item was no. 451 on p. 94 of the 1809 catalogue,¹⁵ and was separately listed up to the 1843 catalogue, when as no. 74 it was noted as not to be found. It was not listed in the 1853 catalogue, and in the 1880 catalogue the Silver Fleet provenance was attached to another Christ on the Cross, namely the present picture, which had been presented by King Willem I (1772-1843) in 1822.

Gregory Martin, 2022

Literature

Vey in S.J. Barnes, N. de Poorter, O. Millar and H. Vey, Anthony van Dyck: A Complete Catalogue of the Paintings, New Haven (Conn.)/London 2004, no. III.A6

Collection catalogues

1825, no. 88 (as manner of Van Dyck); 1832, p. 21, no. 83; 1843, p. 18, no. 83 (as a copy); 1853, p. 10, no. 77 (fl. 1,000); 1858, p. 36, no. 80; 1880, p. 399, no. 468 (as a copy found on the ship of the admiral of the Silver Fleet); 1903, p. 92, no. 863 (as imitation or copy); 1918, p. 92, no. 863 (as studio); 1976, p. 209, no. A 104 (as manner of and as, according to tradition, captured with the Silver Fleet, 1628)

Citation

G. Martin, 2022, 'possibly copy after Anthony van Dyck, St Francis Lamenting at the Foot of the Cross, c. 1650 - c. 1670', in Flemish Paintings in the Rijksmuseum, online coll. cat. Amsterdam: hdl.handle.net/10934/RM0001.COLLECT.6671

(accessed 19 September 2024 17:56:50).