The Metropolitan Museum of Art has just announced their
purchase of Charles Le Brun’s monumental portrait of Everhard Jabach and hisfamily.
Thomas P. Campbell, Director and CEO of the Met said: “This
magnificent canvas by the leading painter of King Louis XIV is a landmark in
the history of French portraiture. It depicts the family of a major figure in the
world of finance and one of the most important collectors in 17th-century Europe.”
Anyone who knows me knows that I think context is the lifeblood
of art appreciation. And happily, development
of context is a big part of the art historian’s métier, so we have terrific
resources like the Metropolitan Museum website that allow us to delve into the
history that engendered the art we see on their walls.
I look at this picture and wonder "Who was Everhard Jabach?" He’s such an obscure figure
today that he doesn’t even warrant a Wikipedia entry! But clearly he was somebody
important … to have been the subject of this magnificent canvas (92” × 128”), painted
by Charles LeBrun, court painter to King Louis XIV. Actually, he was a tremendously wealthy 17thC German banker (1618–1695) whose
collection of paintings and drawings was sold to the French crown to form the
core of the collection of the Louvre.
Wait. … I thought I’d
heard that this painting was destroyed in Berlin in WWII? Ahh … it turns out there were two versions. This one entered a British country house in 1832 where it quietly remained under
the radar until it was put up for sale last year. Notice near the top of the
canvas the line of damage that runs across its full width. Apparently, the top
portion if the canvas was folded over to reduce the height of the huge picture and
it was reframed to fit on a particular wall in its new Kentish home.
Close examination of the picture shows some pentimenti
indicating that it was, in fact, the original of the two versions ... which makes it the more important of the two.
And, speaking of importance, who is the personnage whose
portrait is so prominently placed behind, to Jabach’s right ? Wait … that’s not a painting within the
painting, that’s a mirror, reflecting the painter, Charles Le Brun (French, 1619–1690), sized only slightly smaller than his subjects.
Of course, a big part of the joy for the viewer is in
piecing together the narrative. I love interpreting what the eyes and gestures
tell us, and here Le Brun has, in this one static moment, captured the family
dynamic amidst the sumptuous setting: Jabach senior expounds upon the artifacts
that illustrate his intellectual and cultural interests. His eldest son hangs adoringly
on his every word, while his wife stoically – yet again -- bears the pedantic
monolog. I sense Everhard does go on a bit! The always-helpful younger daughter
tries to gain the attention of her baby brother whose curiosity is engaged outside
with something beyond the frame. And the manipulative adolescent daughter makes
provocative eye contact with the viewer, while the greyhound at her feet seems
to be intensely willing her attention to return into the family portrait.
My appreciation of this painting started with what I saw when
I took the time to look at the details -- or thought I saw, to my own personal
satisfaction. Then my appreciation grew as I looked further, away from the
canvas and into the writings of the art researchers who’ve studied this piece
and the artist and the subject and the history that engendered it. That is
how Charles Le Brun’s monumental portrait of Everhard Jabach and his family
moved from being just another 17th century portrait of a wealthy man and his possessions to a picture
with meaning. I begin to understand why Thomas P. Campbell believes that the
acquisition of this painting “transforms the Museum’s European paintings
collection by adding a defining work both in the history of art and in cultural
and political history.”
