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Museo Nacional Thyssen-Bornemisza, Madrid
Cornelis De Vos

Portrait of Antonia Canis

1624
Oil on panel.
123.5 x 94.2 cm
Museo Nacional Thyssen-Bornemisza, Madrid
Inv. no.
427
(
1934.31
)
ROOM 19
Level 2
Permanent Collection
1 2 3 4 5 6 7 8 9 10 11 12 14 13 15 16 17 18 22 19 20 21 23 24 25 26 27 28 29 Recommended start of the visitClassical rooms
1 14th Century. Early Italian Painting 2 15th Century. German and Spanish Painting 3 15th Century. Early Netherlandish Painting 4 15th Century. Italian Painting 5 15th and 16th Centuries. Renaissance Portraiture 6 16th Century. Villahermosa Gallery 7 16th Century. Italian Painting 8 15th and 16th Centuries. German Painting 9 15th and 16th Centuries. German Painting 10 16th Century. Netherlandish Painting 11 Tiziano, Tintoretto, Bassano and  El Greco 12 17th Century. Caravaggio and Baroque Painting 13 17th Century. Italian, French and Spanish Painting 14 17th Century. Italian, French and Spanish Painting 15 17th Century. Italian, French and Spanish Painting 16 18th Century. Italian Painting 17 18th Century. Italian Painting 18 18th Century. Italian Painting 19 Classical rooms 20 Classical rooms 21 Classical rooms 22 18th Century. Italian Painting 23 17th Century. Dutch Painting. Landscape 24 18th Century. French and English Painting 25 17th Century. Dutch Painting. Scenes of Daily Life and Interiors 26 17th Century. Dutch Painting. Landscape 27 17th Century. Dutch Painting. Portrait 28 17th Century. Dutch Painting. Landscape 29 19th Century. European Painting. Goya and Romanticism  
Cornelis de Vos was an artist who focused on history painting. However, portraiture was also important within his oeuvre, and he produced both individual and group compositions, introducing interesting innovations into the latter type. De Vos was one of the most favoured portraitists among the wealthy Antwerp burgher classes, particularly in the 1620s when this panel was painted. The influence of Van Dyck on the evolution of the artist’s style and figure types is evident. As Sutton noted, this is more so with regard to external elements that indicate the social classes of his sitters than in any refinement or grace with which De Vos might have depicted them.

At this period De Vos was particularly influenced with regard to his female portraits by Van Dyck’s portrait of his sister, Margaretha de Vos, the wife of the painter Frans Snyders (Frick Collection, New York). This canvas, which dates from around 1620–21, prior to Van Dyck’s departure for Italy, was the inspiration for a series of female portraits by De Vos including this one of Antonia Canis. The artist presents his model seated in an interior that opens onto a landscape with two columns on the left and a heavy curtain on the right. The position of the hands, one resting on the arm of the chair and the other on her knees and holding a large and striking feather fan, the position of the body and the slight turn of the head that allows her to look directly at the viewer are all derived from Van Dyck’s portrait of Margaretha de Vos. However, the artist has modified the background and simplified it in comparison to Van Dyck’s original. This same compositional formula, but with the fan replaced by a handkerchief, is found in another work by De Vos in the collection of the duque del Infantado.

Ludwig Burchard identified the present sitter through the coat-of- arms at the upper right, next to her age and the date. The same coat-of-arms appears with the names Antonia Canis and Jan van Eversdtck in a stained-glass window donated by the couple in 1623 to the Carmelite church in Antwerp. Designed by Abraham van Diepenbeeck, it depicts Saints Joachim and Anna. The left half of the coat-of-arms in the present panel, with three stags’ heads, is that of the present sitter’s husband, Jan van Eversdtck, while the right half, with three dogs and a red star, is that of the Canis family. The present panel was acquired from Rudolph Heinemann in Munich in 1935. Some years before, it had been with the Antwerp dealer Sam Hartveld and with the London gallery Asscher & Welker. It had also been in the Gaston Neumans collection in Paris.

Mar Borobia
17th Century17th Century - Flemish paintingPaintingOilpanel
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Portrait of Antonia Canis. Retrato de Antonia Canis, 1624
Portrait of Antonia Canis
Cornelis De Vos

©

Museo Nacional Thyssen-Bornemisza, Madrid

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Portrait of Antonia Canis. Retrato de Antonia Canis, 1624
Portrait of Antonia Canis
Cornelis De Vos

©

Museo Nacional Thyssen-Bornemisza, Madrid

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