portrait of a gentleman c 1630 studio or circle of daniel mytens

Portrait of a Gentleman c. 1630; Studio or Circle of Daniel Mytens.


| $9,254 USD | €7,875 EUR

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Oil on canvas in appropriate reproduction frame.
This is a very fine portrait from the early 17th century workshop of Daniel Mytens.
The sitter displays his considerable wealth in the exquisite quality of his lace and the workmanship of his doublet.
DANIEL MYTENS c.1590-1647. The Jacobean portraitist Daniel Mytens (sometimes spelt Mijtens) was born in Delft, Netherlands. It is likely that Mytens learned to paint from a relative, eventually training with either Jan Anthonisz van Ravesteyn in The Hague or Michiel van Mierevelt (d. 1641) in Delft, joining the professional association of painters in The Hague, the Guild of St Luke, in 1610, before marrying in 1612.
A letter addressed to the English ambassador in The Haguewritten by Mytens and dated 18 August 1618 implies that he had arrived in England sometime before 1618, the year in which he completed his first English commission, a double portrait of Thomas Howard, second Earl of Arundel, and his wife, Alatheia Talbot, Countess of Arundel in which the fashionable pair sit before two viewing galleries, one lined with classical, figurative sculptures, the other hung with painted portraits. On his arrival in London Mytens joined a community of Dutch and Flemish artists with whom he was linked by familial ties and likely began his career working for his relative, the royal painter Paul van Somer (c.1577-1621).
Even at this early stage he demonstrated a natural acuity for realism and perception in the subtle nuances of light and texture best achieved in the portraiture of his contemporary, Sir Anthony Van Dyck (1599-1641). His Netherlandish origins provided him with fastidious draughtsmanship, a delicate handling of form and convincing treatment of space whilst also capturing the fine splendour of court dress. He laid emphasis on the faces of his sitters, arguably indicative of Mierevelt’s influence, but most significantly his portraits balance psychological insight with a sense of reserved dignity. The departure of Van Dyck for Italy in 1621 and the death of Paul van Somer that same year left Mytens free to claim artistic supremacy at the court of King James I.
James I believed Mytens’s modern, sophisticated and flattering style of portraiture would help him achieve the betrothal of his son, Charles, to the Spanish Infanta Maria Anna, and on 19 July 1624 he granted the artist a pension committing him to serve him and his heirs ‘faithfullie and diligently’, forbidding him to go abroad without royal consent. Later that year Prince Charles granted Mytens denizenship and by 1625 the artist was living in a house in St Martin's Lane, London. By June 1625 his ‘faculty and skill…in the art of picture drawing’ secured him the official position of a Picture-Drawer in the Royal Chamber in Ordinary of the new King Charles I. Charles commissioned copies of Italian old masters by the likes of Titian and Vecchio in the Royal Collection, allowing Mytens to develop his style on a six month trip to the Netherlands in August 1626 during which he absorbed influences from contemporary Dutch and Flemish portraiture.
Mytens is recorded as returning to England by 1626 and enjoyed a lucrative, largely unchallenged, career at court through to 1630.
He was granted permission to leave England for the Low Countries in 1630. He continued to receive his pension from the English treasury but began to work primarily as an agent for British art collectors, principally the Earl of Arundel, acting as an intermediary on the sale of works by Holbein, Dürer, Raphael, Andrea del Sarto and Titian. Mytens painted a few minor portraits while serving as deacon in his local church from 1638, eventually dying on 22 June 1647.
SIZE: 34.25 x 30.5 inches inc. frame.
PROVENANCE: Private Collection, Abingdon, Oxfordshire.
Internal Ref: 9087


Height = 87 cm (34")
Width = 77 cm (31")
Depth = 3 cm (1")

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