M HKA Ensembles

Painting, 45.2 x 52 cm.

Collection: Museum voor Schone Kunsten, Ghent.

In this fascinating study of colour and light, Jordaens presents the expressive face of Grapheus in two slightly different poses. The artist indulges in the juxtaposition of pink, ocher yellow and light yellow touches that remain recognizable as such - a free handling of paint that will later appeal to the imagination of the Impressionists. Grapheus posed many times for the painter, who depicts him head-on and in profile, looking up, looking down and viewed from below. In some cases these sessions end up in strange grimace-making bouts.  

Jordaens uses the red-faced appearance of his friend in numerous paintings, as a writing evangelist in The Four Evangelists (Paris, Louvre, c. 1625-30) and as a shepherd in The Adoration by the Shepherds (Paris, Louvre, c. 1650). In response to the constrained and predictable visual language of the Romanists and Rubens' heroics, Jordaens and the six-year-younger Van Dyck revitalise the mythological, biblical and historical repertoire by populating it with characters of flesh and blood. Working with studies after living models is instrumental in this artistic revolution.

Text: Nico Van Hout, 2018