Who painted An Old Man in a Fur Cap?

An Old Man in a Fur Cap was painted by Karel van der Pluym in 1655.

Where can I see An Old Man in a Fur Cap?

An Old Man in a Fur Cap is held by Art Institute of Chicago.

What movement is An Old Man in a Fur Cap?

An Old Man in a Fur Cap is associated with Baroque.

Can I buy a print of An Old Man in a Fur Cap?

Museum-quality prints of An Old Man in a Fur Cap are available made-to-order from Artifact World Gallery.

Artwork

An Old Man in a Fur Cap

Karel van der Pluym , 1655

An Old Man in a Fur Cap is an oil painting by the Baroque artist Karel van der Pluym. It dates from 1655 and is held in the collection of the Art Institute of Chicago.

Accession no.: 72190
Credit line: Bequest of Chester D. Tripp

About this work

Overview

Karel van der Pluym’s oil painting titled An Old Man in a Fur Cap dates from around 1655. Executed on a cradled wooden panel, the work is part of the permanent collection of the Art Institute of Chicago. The portrait presents a solitary figure in a modest interior, rendered with a restrained palette and careful attention to surface texture.

Subject & Meaning

The composition centers on an elderly man seated before a plain backdrop, his gaze directed outward with a calm, contemplative demeanor. He wears a fur‑lined cap that frames his weathered face, emphasizing the passage of time. The subdued setting and the sitter’s quiet expression suggest a focus on individual character rather than narrative drama.

Technique & Style

Van der Pluym employs a subtle chiaroscuro, allowing soft light to illuminate the man’s facial features while the surrounding space recedes into shadow. The brushwork captures the fine lines of age and the tactile quality of the fur cap, demonstrating the artist’s skill in rendering both flesh and fabric with delicate gradations of tone.

History & Provenance

Since its creation in the mid‑17th century, the portrait has remained in private hands before entering the Art Institute of Chicago’s collection. The museum acquired the work as part of its broader effort to represent Dutch Golden Age portraiture, where van der Pluym’s oeuvre occupies a modest but documented place.