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: Portrait of Adriaan Hannemann


Anthony M. Clark



Institution Minneapolis Institute of Arts
One of the greatest Genoese painters was Van Dyck, who did some of his finest work in Genoa and whose influence was pervasive there for a century. But as Sir Anthony Van Dyck (1599-1641) he was, for the last decade of his life, one of the greatest of English painters.Mrs. Termoen's gift has had several traditional attributions: it has been called a self-portrait of Van Dyck, a portrait by Van Dyck of his Dutch friend and scholar, Adriaan Hannemann (1601-1671) and a portrait of Van Dyck by Hannemann. On the basis of the slightly older self-portrait of Hannemann in the Gallery at Poznan, Poland, and that in the Rijksmuseum, this painting seems surely a representation of Hannemann, but the style is very close to that of Van Dyck himself. Hannemann copied Van Dyck so that the problem is further complicated, and it seems possible that further versions of the present painting exist. Thus, for the moment, this handsome portrait bears an undeservedly humble tag: “Circle of Van Dyck, Portrait of Hannemann.”Referenced Work of Art
  1. Circle of Van Dyck, Flemish, 17th century. Portrait of Adriaan Hannemann, c. 1630. Oil on canvas, 30” x 24”. Gift of Mrs. Clarence O. Termoen, 1961, 61.1.
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Source: Anthony M. Clark, "Portrait of Adriaan Hannemann," <i>The Minneapolis Institute of Arts Bulletin</i> 51, no. 2 (June, 1962): 57-58.
Rights: ©MIA
Added to Site: March 10, 2009