ArtworkStatus unknown
Portrait of Jean Gros (recto); Coat of Arms of Jean Gros (verso)
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oil paint (paint)28 × 38 Cm
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About the artwork
Artist supplied description.
This portrait once formed one half of a folding, portable diptych. The sitter—identifiable through his coat of arms, personal motto, and initials on the back of the panel—is Jean Gros, an administrator to the future duke of Burgundy. His prayerful gaze was originally directed at another panel with an image of Mary and the infant Jesus, now in the Musée des Beaux-Arts in Tournai, Belgium. Gros’s coat of arms is on the back of that panel as well.
This type of diptych, which was intended to suggest continuous prayer and to record the donor’s features, was probably first made for princes around 1400. Rogier van der Weyden revitalized the portrait tradition in the mid-15th century, creating similar diptychs for patrons at the highest level of the Burgundian court. In commissioning one for himself, Gros was displaying his ambition and his close associations with the court.
Artwork metadata
Structured fields synced from connected systems.
| Medium | oil paint (paint) |
| Dimensions | 28 × 38 Cm |
| Tags | portraits: male subjectportraitprayerjewelrymancoat of armstowershieldstasselsblueblue (color)gold (color)portraitsCentury of Progressworld's fairsChicago World's Fairs |
| Certificate | Certificate not provided |
Timeline
Chain of custody, exhibitions, and verification milestones synced from the provenance service.
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Marcel Nicolle, “La Collection Rodolphe Kann,” La Revue de l’art ancien et moderne
Marcel Nicolle, “La Collection Rodolphe Kann,” La Revue de l’art ancien et moderne
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Feb
note
W. H. James Weale, Belgium, Aix-la-Chapelle and Cologne, London,1859, p. 164.
W. H. James Weale, Belgium, Aix-la-Chapelle and Cologne, London,1859, p. 164.
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196, no. 6, fig. 28.
196, no. 6, fig. 28.
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Feb
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Eduard Firmenich-Richartz, “Roger van der Weyden, der Meister von Flémalle: Ein Beitrag zur Geschichte der vlämischen Malerschule,” Zeitschrift für bildende Kunst 10
Eduard Firmenich-Richartz, “Roger van der Weyden, der Meister von Flémalle: Ein Beitrag zur Geschichte der vlämischen Malerschule,” Zeitschrift für bildende Kunst 10 (1898–99), p. 143.
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his heirs
his heirs
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exhibition
Bruges, Grande Salle des Halles, Tableaux de l’ancienne école néerlandaise, 1867, no. 19.
Bruges, Grande Salle des Halles, Tableaux de l’ancienne école néerlandaise, 1867, no. 19.
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Hélène Verougstraete and Roger van Schoute, “La Madone Renders et sa restauration
Hélène Verougstraete and Roger van Schoute, “La Madone Renders et sa restauration
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Feb
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Emile Van den Bussche, “Museum Flandrense I:Le Cabinet du docteur De Meyer, à Bruges,” La Flandre: Revue des monuments d’histoire et d’antiquités
Emile Van den Bussche, “Museum Flandrense I:Le Cabinet du docteur De Meyer, à Bruges,” La Flandre: Revue des monuments d’histoire et d’antiquités (1875), pp. 189–90.
Sat
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Robert Suckale, “Rogier van der Weydens Werkstatt: Zwei Fallbeispiele,” in Tributes in Honor of James H. Marrow: Studies in Painting and Manuscript Illumination of the
Robert Suckale, “Rogier van der Weydens Werkstatt: Zwei Fallbeispiele,” in Tributes in Honor of James H. Marrow: Studies in Painting and Manuscript Illumination of the
Sat
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Max J. Friedländer, Ausstellung von Kunstwerken des Mittelalters und der Renaissance aus Berliner Privatbesitz veranstaltet von der Kunstgeschichtlichen Gesellschaft, 20. Mai bis 3. Juli 1898, Berlin, 1899, p. 7.
Max J. Friedländer, Ausstellung von Kunstwerken des Mittelalters und der Renaissance aus Berliner Privatbesitz veranstaltet von der Kunstgeschichtlichen Gesellschaft, 20. Mai bis 3. Juli 1898, Berlin, 1899, p. 7.
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exhibition
Brussels, Musée Communal de Bruxelles, Maison du Roi, Rogier van der Weyden—Rogier de le
Brussels, Musée Communal de Bruxelles, Maison du Roi, Rogier van der Weyden—Rogier de le
Sat
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Susan Urbach, “An Unknown Portrait after Rogier van der Weyden,” in Als Ich Can:
Susan Urbach, “An Unknown Portrait after Rogier van der Weyden,” in Als Ich Can:
Sat
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Feb
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Eduard Firmenich-Richartz, “Hugo van der Goes,” Zeitschrift für christliche Kunst 10
Eduard Firmenich-Richartz, “Hugo van der Goes,” Zeitschrift für christliche Kunst 10 (1897), p. 378.
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Dr....
Dr. Isaac Joseph de Meyer (d. 1861), Bruges, by 1859 [Weale 1859]
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Hanno Wijsman, Luxury Bound. Illustrated Manuscript Production and Noble and Princely Book Ownership in the Burgundian Netherlands
Hanno Wijsman, Luxury Bound. Illustrated Manuscript Production and Noble and Princely Book Ownership in the Burgundian Netherlands (1400-1550), Turnhout, 2010, pp. 490, 498.
Sat
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Feb
exhibition
Leuven, Municipal Museum, Rogier van der Weyden 1400-1464: Master of Passions, September 20- December 6, 2009.
Leuven, Municipal Museum, Rogier van der Weyden 1400-1464: Master of Passions, September 20- December 6, 2009.
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Cathy Metzger and Griet Steyaert, "Painting, a Distinct Profession" in Rogier van der Weyden 1400-1464: Master of Passions, exhib. cat., M, Leuven, 2009, pp. 162-5, 167, 177, n. 8.
Cathy Metzger and Griet Steyaert, "Painting, a Distinct Profession" in Rogier van der Weyden 1400-1464: Master of Passions, exhib. cat., M, Leuven, 2009, pp. 162-5, 167, 177, n. 8.
Sat
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exhibition
The Art Institute of Chicago, New Light on Old Masters: Research on Northern European and Spanish Paintings before 1600 in the Art Institute, 26 June—14 September 2008, no cat.
The Art Institute of Chicago, New Light on Old Masters: Research on Northern European and Spanish Paintings before 1600 in the Art Institute, 26 June—14 September 2008, no cat.
Sat
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Martha Wolff in Martha Wolff et al., Northern European and Spanish Paintings before 1600 in the Art Institute of Chicago, Chicago, 2008, pp. 302-10, ill.
Martha Wolff in Martha Wolff et al., Northern European and Spanish Paintings before 1600 in the Art Institute of Chicago, Chicago, 2008, pp. 302-10, ill.
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Stephan Kemperdick, "The Flémalle - Campin -Van der Weyden Problem: Still Existing" in Campin in Context: Peinture et société dans la vallée de l'Escaut à l'époque de Robert Campin 1375-1445, ed. Ludovic Nys and Dominique Vanwijnsberghe
Stephan Kemperdick, "The Flémalle - Campin -Van der Weyden Problem: Still Existing" in Campin in Context: Peinture et société dans la vallée de l'Escaut à l'époque de Robert Campin 1375-1445, ed. Ludovic Nys and Dominique Vanwijnsberghe (Valenciennes, Brussels, and Tournai, 2007), p. 12.
Sat
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Feb
exhibition
Washington, D.C., National Gallery of Art, Prayers and Portraits: Unfolding the Netherlandish Diptych, November 16, 2006–February 4, 2007, cat. 37; Antwerp, Koninklijk Museum voor Schone Kunsten, March 3–May 27, 2007.
Washington, D.C., National Gallery of Art, Prayers and Portraits: Unfolding the Netherlandish Diptych, November 16, 2006–February 4, 2007, cat. 37; Antwerp, Koninklijk Museum voor Schone Kunsten, March 3–May 27, 2007.
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Late Middle Ages and Northern Renaissance, ed. Jeffrey F. Hamburger and Anne S. Korteweg, London and Turnhout, 2006, pp. 489–93, fig. 2.
Late Middle Ages and Northern Renaissance, ed. Jeffrey F. Hamburger and Anne S. Korteweg, London and Turnhout, 2006, pp. 489–93, fig. 2.
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Maximiliaan P. J. Martens, “Some Reflections on the Social Function of Diptychs,” in Essays in Context: Unfolding the Netherlandish Diptych, ed. John Hand and Ron Spronk, Cambridge, Mass., New Haven, and London, 2006, pp. 85–88, fig. 1.
Maximiliaan P. J. Martens, “Some Reflections on the Social Function of Diptychs,” in Essays in Context: Unfolding the Netherlandish Diptych, ed. John Hand and Ron Spronk, Cambridge, Mass., New Haven, and London, 2006, pp. 85–88, fig. 1.
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Till-Holger Borchert, "Collecting Early Netherlandish Paintings in Europe and the United States" in Early Netherlandish Paintings: Rediscovery, Reception, and Research, ed. Bernhard Ridderbos, Anne van Buren and Henk van Veen
Till-Holger Borchert, "Collecting Early Netherlandish Paintings in Europe and the United States" in Early Netherlandish Paintings: Rediscovery, Reception, and Research, ed. Bernhard Ridderbos, Anne van Buren and Henk van Veen (Amsterdam, 2005), p. 212.
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Andrea Pearson, Envisioning Gender in Burgundian Devotional Art, 1350–1530: Experience, Authority, Resistance, Aldershot and Burlington, Vt., 2005, pp. 20, 85, 125,
Andrea Pearson, Envisioning Gender in Burgundian Devotional Art, 1350–1530: Experience, Authority, Resistance, Aldershot and Burlington, Vt., 2005, pp. 20, 85, 125,
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Dominique Vanwijnsberghe, “L’Identification du portrait ‘Froimont’ de Rogier van der Weyden: Perspectives nouvelles sur les liens du peintre avec le milieu hainuyer,” Revue de l’art, no. 139
Dominique Vanwijnsberghe, “L’Identification du portrait ‘Froimont’ de Rogier van der Weyden: Perspectives nouvelles sur les liens du peintre avec le milieu hainuyer,” Revue de l’art, no. 139 (2003), p. 29.
Sat
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Liber amicorum in memory of Professor Dr. Maurits Smeyers, ed. Bert Cardon et al., Paris, Leuven, and Dudley, Mass., 2002, fig. 3
Liber amicorum in memory of Professor Dr. Maurits Smeyers, ed. Bert Cardon et al., Paris, Leuven, and Dudley, Mass., 2002, fig. 3 (stripped state).
Sat
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Serge Le Bailly de Tilleghem, “Quelques Jalons pour l’histoire de la Madone Renders,” in Postprints of the colloquium Le Dessin sous-jacent dans la peinture XIII, Louvain-la-Neuve, 2001, p. 4, fig. 2.
Serge Le Bailly de Tilleghem, “Quelques Jalons pour l’histoire de la Madone Renders,” in Postprints of the colloquium Le Dessin sous-jacent dans la peinture XIII, Louvain-la-Neuve, 2001, p. 4, fig. 2.
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D[aniel] H[ess] in Spiegel der Seligkeit. Privates Bild und Frömmigkeit im Spätmittelalter, exhib. cat. Germanisches Nationalmuseum, Nuremberg, 2000, p. 248, under no. 74.
D[aniel] H[ess] in Spiegel der Seligkeit. Privates Bild und Frömmigkeit im Spätmittelalter, exhib. cat. Germanisches Nationalmuseum, Nuremberg, 2000, p. 248, under no. 74.
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Elisabeth Dhanens and Jellie Dijkstra, Rogier de la Pasture Van der Weyden: Introduction à l’oeuvre, relecture des sources, Tournai, 1999, pp. 51, 192, fig. 42.
Elisabeth Dhanens and Jellie Dijkstra, Rogier de la Pasture Van der Weyden: Introduction à l’oeuvre, relecture des sources, Tournai, 1999, pp. 51, 192, fig. 42.
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Albert Châtelet, Rogier van der Weyden: Problèmes de la vie et de l’oeuvre, Strasbourg, 1999, pp. 151–53.
Albert Châtelet, Rogier van der Weyden: Problèmes de la vie et de l’oeuvre, Strasbourg, 1999, pp. 151–53.
Sun
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Stephan Kemperdick, Rogier van der Weyden, 1399–1464, Cologne, 1999, pp. 86, 105, 109, fig. 109.
Stephan Kemperdick, Rogier van der Weyden, 1399–1464, Cologne, 1999, pp. 86, 105, 109, fig. 109.
Sun
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Dirk de Vos, Rogier van der Weyden: The Complete Works, Antwerp, 1999, pp. 111–12, 134, 298–99, 301
Dirk de Vos, Rogier van der Weyden: The Complete Works, Antwerp, 1999, pp. 111–12, 134, 298–99, 301 (ill.), 305, no. 25, figs. 156–57.
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Albert Châtelet, Rogier van der Weyden, Milan, 1999, pp. 20–21, 70–71
Albert Châtelet, Rogier van der Weyden, Milan, 1999, pp. 20–21, 70–71 (ill.), 139.
Sat
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Catherine A. Metzger and Michael Palmer, “The Washington Portrait of a Lady by Rogier van der Weyden Reconsidered in Light of Recent Investigations,” Painting Techniques, History, Materials, and Studio Practice: Contributions to the Dublin ...
Catherine A. Metzger and Michael Palmer, “The Washington Portrait of a Lady by Rogier van der Weyden Reconsidered in Light of Recent Investigations,” Painting Techniques, History, Materials, and Studio Practice: Contributions to the Dublin Congress, 7–11 September 1998, ed. Ashok Roy and Perry Smith, London, 1998, p. 94.
Fri
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Bodo Brinkmann, Die flämische Buchmalerei am Ende des Burgunderreichs: Der Meister der Dresdener Gebetbuches und die Miniaturisten seiner Zeit, Turnhout, 1997, pp. 73–74, fig. 19.
Bodo Brinkmann, Die flämische Buchmalerei am Ende des Burgunderreichs: Der Meister der Dresdener Gebetbuches und die Miniaturisten seiner Zeit, Turnhout, 1997, pp. 73–74, fig. 19.
Wed
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Junko Ninagawa, “The Half-Length Devotional Portrait Diptychs by Rogier van der Weyden,” Aesthetics
Junko Ninagawa, “The Half-Length Devotional Portrait Diptychs by Rogier van der Weyden,” Aesthetics (Japanese Society for Aesthetics) 7 (1996), pp. 84, 87–89, fig. 6.
Wed
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Cyriel Stroo and Pascale Syfer-d’Olne, The Flemish Primitives: Catalogue of Early Netherlandish Painting in the Royal Museums of Fine Arts of Belgium, vol. 1, Brussels, 1996, p. 129.
Cyriel Stroo and Pascale Syfer-d’Olne, The Flemish Primitives: Catalogue of Early Netherlandish Painting in the Royal Museums of Fine Arts of Belgium, vol. 1, Brussels, 1996, p. 129.
Wed
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Lorne Campbell, “Roger van der Weyden,” in Dictionary of Art, vol. 23, 1996, p. 123.
Lorne Campbell, “Roger van der Weyden,” in Dictionary of Art, vol. 23, 1996, p. 123.
Tue
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Bernhard Ridderbos, in “Om iets te weten van de oude meesters”: De Vlaamse primitieven; Herontdekking, waardering en onderzoek, ed. Bernhard Ridderbos and Henk van Veen, Nijmegen, 1995, fig. 25.
Bernhard Ridderbos, in “Om iets te weten van de oude meesters”: De Vlaamse primitieven; Herontdekking, waardering en onderzoek, ed. Bernhard Ridderbos and Henk van Veen, Nijmegen, 1995, fig. 25.
Mon
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Dirk de Vos, Hans Memling: The Complete Works, Antwerp and Ghent, 1994, p. 366.
Dirk de Vos, Hans Memling: The Complete Works, Antwerp and Ghent, 1994, p. 366.
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Françoise Debaisieux, Caen, Musée des Beaux-Arts: Peintures des écoles étrangères, Paris, 1994, pl. 331.
Françoise Debaisieux, Caen, Musée des Beaux-Arts: Peintures des écoles étrangères, Paris, 1994, pl. 331.
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Maximiliaan P. J. Martens, “La Clientèle du peintre,” in Les Primitifs Flamands et leur temps, ed. Brigitte de Patoul and Roger van Schoute, Louvain-la-Neuve, 1994, pp. 152–53
Maximiliaan P. J. Martens, “La Clientèle du peintre,” in Les Primitifs Flamands et leur temps, ed. Brigitte de Patoul and Roger van Schoute, Louvain-la-Neuve, 1994, pp. 152–53 (ill.).
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Dirk de Vos, Hans Memling, exh. cat., Bruges, Groeningemuseum, 1994, p. 17.
Dirk de Vos, Hans Memling, exh. cat., Bruges, Groeningemuseum, 1994, p. 17.
Mon
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Jellie Dijkstra, “Rogier van der Weyden,” in Les Primitifs Flamands et leur temps, ed. Brigitte de Patoul and Roger van Schoute, Louvain-la-Neuve, 1994, p. 357.
Jellie Dijkstra, “Rogier van der Weyden,” in Les Primitifs Flamands et leur temps, ed. Brigitte de Patoul and Roger van Schoute, Louvain-la-Neuve, 1994, p. 357.
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Hermann Kamp, Memoria und Selbstdarstellung: Die Stiftungen des burgundischen Kanzlers Rolin, Sigmaringen, 1993, pp. 153, 257–58.
Hermann Kamp, Memoria und Selbstdarstellung: Die Stiftungen des burgundischen Kanzlers Rolin, Sigmaringen, 1993, pp. 153, 257–58.
Fri
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Guy Bauman and Walter A. Liedtke, Flemish Paintings in America: A Survey of Early Netherlandish and Flemish Paintings in the Public Collections of North America, Antwerp, 1992 , p. 374, no. 493
Guy Bauman and Walter A. Liedtke, Flemish Paintings in America: A Survey of Early Netherlandish and Flemish Paintings in the Public Collections of North America, Antwerp, 1992 , p. 374, no. 493 (ill.).
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Maximiliaan P. J. Martens, “Artistic Patronage in Bruges Institutions, ca. 1440–1482,” Ph.D. diss., University of California, Santa Barbara, 1992, p. 287.
Maximiliaan P. J. Martens, “Artistic Patronage in Bruges Institutions, ca. 1440–1482,” Ph.D. diss., University of California, Santa Barbara, 1992, p. 287.
Thu
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Craig Harbison, Jan van Eyck: The Play of Realism, London, 1991, p. 119, fig. 77.
Craig Harbison, Jan van Eyck: The Play of Realism, London, 1991, p. 119, fig. 77.
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Jeltje Dijkstra, “Origineel en kopie: Een onderzoek naar de navolging van de Meester van Flémalle en Rogier van der Weyden,” Ph.D. diss., University of Amsterdam, 1990, p. 54.
Jeltje Dijkstra, “Origineel en kopie: Een onderzoek naar de navolging van de Meester van Flémalle en Rogier van der Weyden,” Ph.D. diss., University of Amsterdam, 1990, p. 54.
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