Artwork
Portrait of Everhard Jabach (1610-1695)
Portrait of Everhard Jabach (1610-1695) is an oil painting by the Flemish Baroque painting artist Anthony van Dyck. It dates from 1636 and is held in the collection of the Hermitage Museum.
About this work
Technique & Style
The work is an oil painting executed on canvas, measuring 91.5 cm in width by 113 cm in height. It portrays the collector Everhard Jabach, with the Ypres Tower noted as a secondary element in the composition. The painting was created in Flanders in 1636 and exemplifies Van Dyck's characteristic portrait style, blending refined realism with a dignified presentation of the sitter.
History & Provenance
Following Jabach's ownership, the portrait passed through the Crozat collection, held successively by Pierre Crozat and Louis Antoine Crozat.
The Portrait of Everhard Jabach was painted by Anthony van Dyck in 1636, executed in oil on canvas in Flanders. The work was made for Everhard Jabach himself, who is recorded as an early owner of the painting.
Following Jabach's ownership, the portrait passed through the Crozat collection, held successively by Pierre Crozat and Louis Antoine Crozat. The painting subsequently entered the holdings of Catherine II of Russia, through whose acquisition it reached the Hermitage Museum, where it remains part of the collection today.
Overview
Anthony van Dyck’s 1636 oil portrait presents Everhard Jabach, a prominent 17th‑century figure, seated before a modest interior setting. The composition balances a darkened space with a faintly rendered landscape featuring a tower, drawing the viewer’s attention to the sitter’s illuminated face. The work belongs to the State Hermitage Museum’s collection.
Subject & Meaning
Everhard Jabach, born in Antwerp in 1599 to a silk‑trading family, is depicted in a dignified pose, his hand resting on a chair and his gaze directed outward. The restrained background and the sitter’s sober attire suggest a focus on personal stature and civic identity rather than overt symbolism.
Context
The painting reflects the Flemish Baroque tradition of portraiture that emphasized realism and psychological presence. Van Dyck, already a master in the Guild of Saint Luke by 1617, was developing a style that combined Rubens’s dynamism with a more intimate, courtly elegance, evident in this work.
Artist & collection
Artist
Sir Anthony van Dyck (; Dutch: Antoon van Dijck; 22 March 1599 – 9 December 1641) was a Flemish Baroque artist, who became the leading court painter in England after success in the Spanish Netherlands and Italy.
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