Jacob Hyusmans Circle

Circle of JACOB HUYSMANS (c. 1633-1696), c. 1700.
"Portrait of a Young Man."
Oil on canvas. Relined.
Presents restorations.
Measurements: 144 x 102 cm; 163 x 120 cm (frame).
We see in this canvas the portrait of a child in front of an idyllic landscape background in which we can appreciate the remains of an imposing architecture of classical style. The protagonist is perfectly centered in the scene, looking directly at the viewer. He is elegantly dressed in the fashion of the time. The little boy holds in his hands a large spear, symbol of power, while with the other he holds the leash of two greyhounds. Both the subject matter and the protagonist are very reminiscent of the work "John Ives Senior as a Boy (1718/1719-1793) which is in Great Yarmouth Museums.
The style and technique are reminiscent of the painting of Jacob Huysmans (c. 1633-1696) Flemish portrait painter who, after training in his native Antwerp, emigrated to England before the Restoration. He became a famed court painter and attracted the patronage of the Portuguese-born Queen Catherine of Braganza, a Catholic like himself, of whom he painted several portraits. With his exuberant style, during his lifetime he was considered an important rival of the court painter Peter Lely, who favored a more sober treatment of his models. Huysmans moved to England before the Restoration, in 1660. He is first recorded in England in 1662. There he began as a painter of small-format pastiches of history paintings by Anthony van Dyck. Later he was able to establish himself as a portrait painter at the court of Charles II. Even after he had established himself as a portraitist to the elite, he continued to paint history subjects and is known to have created religious compositions for his patron, Queen Catherine of Braganza. His religious and historical paintings are more sober in style than his portraits. His style, handling of paint and application of color are close to the Italianate Baroque of Anthony van Dyck. His palette is characterized by the use of high tone colors, reddish highlights in the flesh tones and a smooth, glossy finish. Huysmans was especially adept at depicting the rich colors and textures of sumptuous court dress. He liked to show the play of light, color and hallmarks of textures, crinkled satin against porcelain skin or shimmering ringlets entwined with jeweled flowers. Huysmans preferred to represent his models in costume and with accessories placed in theatrical settings and including allegorical symbols. The grandeur of his models evokes the work of the Italian painter Guido Reni and the 17th century Bolognese school.