Diana, Goddess of the Hunt
Willem van Mieris(Leiden 1662 – 1747 Leiden)

1686
oil on panel
18 x 14.4 cm
signed and dated in dark paint, lower rightcorner: “W. V. Mieris. Fet. 1686”
WM-101© 2020 The Leiden Collection

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How to cite
Buvelot, Quentin. “Diana, Goddess of the Hunt” (2017). In The Leiden Collection Catalogue, 2nd ed. Edited byArthur K. Wheelock Jr. New York, 2017–20. https://theleidencollection.com/artwork/diana-goddess-of-the-hunt/(archived May 2020).
A PDF of every version of this entry is available in this Online Catalogue's Archive, and the Archive ismanaged by a permanent URL. New versions are added only when a substantive change to the narrativeoccurs.

Frans van Mieris the Elder (1635–81) trained his sons Jan (1660–90) andComparative Figures

Willem in the fijnschilder tradition. Unfortunately, Jan died at a young age inRome before he produced many works, but Willem continued to paint wellinto the eighteenth century. His works, which are rather slick in execution,
were in great demand and fetched high prices. He painted many of the samesubjects as his father, but he also produced many history pieces and, after
1700, kitchen and shop scenes. These pieces, with their Gerrit Dou–likestone window framing devices (fig 1), were fairly old-fashioned by this time,
though they were still popular with collectors.[1]Willem van Mieris painted this work in 1686 when he was about 24 years old.
Here, a woman dressed à l’antique in a gold-colored robe with a red sash
stands before an idealized hilly, wooded landscape opening up to ruins and adistant mountain. Van Mieris effectively used the muted tonalities of thisFig 1. Attributed to Willem vanMieris, A Man Drinking and a
Woman Offering Him a Fish,undated, oil on panel, 34 x 29 cm,
private collection

evocative Arcadian landscape to set off the woman’s light-filled and sensualform. The delicacy of the artist’s painterly touch, so reminiscent of that of his
father (see FM-103), is particularly evident in the shimmering blue of her
scarf (fig 2) and in the individual brushstrokes that model the blue and white
ostrich feathers in her hair.
The woman is without doubt meant to represent Diana, the goddess of theFig 2. Detail of scarf from WM-101

hunt, who is also known by her Greek name Artemis. Although the painteromitted the crescent moon, Diana’s primary attribute, she is depicted
holding an arrow taken from the quiver lying on the rocky ledge before her. In© 2020 The Leiden Collection

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Van Mieris’s day, Diana was associated with elegance and purity. The latterassociation may be somewhat surprising, as the woman’s plunging décolleté
reveals a nipple that gives the painting an erotic charge.[2] It is not known
whether this painting had a pendant, but the gaze of the goddess would
seem to suggest that there was one, probably Diana’s twin brother, Apollo,
the patron god of music and poetry.[3]At first glance, this scene with Diana appears to be a portrait historié, apainting in which a real person is depicted as a historical, biblical, ormythological figure, but this is far from certain.[4] The painting was describedas a portrait historié as early as 1842, when the English dealer John Smithpublished it as “A Young Lady, in the character of Diana.” Smith’s
description was paraphrased in a Paris sales catalogue only two years

Fig 3. Willem van Mieris, The
Repentant Mary Magdalene, 1709,
oil on panel, 20.3 x 15.7 cm,
present location unknown

later,[5] and the notion that the painting is a portrait historié has appeared
frequently in the literature.[6] Diana’s face, however, lacks the kind ofindividualized features seen in Van Mieris’s female portraits.[7] Her doll-likeface with its double chin and thick neck resembles that of other stereotypicalfemale figures in Van Mieris’s history paintings, as in his painting The
Repentant Mary Magdalene, 1701 (fig 3). As Junko Aono has noted, Van
Mieris’s paintings are populated by highly idealized women with “marble-likesmooth skin, graceful poses and gestures and an almost sculpted classicalprofile.”[8] Van Mieris used panels of almost the same size to paint otherscenes of women from history, including a painting of Mary Magdalene dated
1709, in which the saint, like Diana here, is portrayed looking to the left infront of an idealized landscape.[9]Portrait historié or not, this small jewel-like panel painting, which measures
only 18 by 14.4 centimeters, is an exquisite example of Willem van Mieris’s
skillful handling of paint at the beginning of his career. The smooth, blended
brushstrokes he used to model the ivory-colored flesh tones and bolder
touches he applied to accent the woman’s elegant wardrobe are techniquesthat helped establish his reputation as one of the finest painters of his day.

- Quentin Buvelot, 2017

© 2020 The Leiden Collection

Diana, Goddess of the HuntPage 4 of 7Endnotes

1. A monograph on the artist is still a desideratum. For literature on Van Mieris, see thereferences listed in Junko Aono, “Imitation and Innovation: Dutch Genre Painting 1680–1750
and Its Reception of the Golden Age” (PhD diss. University of Amsterdam, 2011), 174.
2. This pictorial motif had been introduced earlier in Dutch seventeenth-century painting;see Marlies Enklaar in Peter Schoon and Sander Paarlberg, eds., Greek Gods and Heroes in
the Age of Rubens and Rembrandt (Exh. cat. Athens, National Gallery—Museum Alexandros
Soutzos and Netherlands Institute; Dordrecht, Dordrechts Museum) (Athens, 2000), 368 n. 1.
3. See Marlies Enklaar in Peter Schoon and Sander Paarlberg, eds., Greek Gods and Heroes in
the Age of Rubens and Rembrandt (Exh. cat. Athens, National Gallery—Museum Alexandros
Soutzos and Netherlands Institute; Dordrecht, Dordrechts Museum) (Athens, 2000), 256.
4. See Rose Wishnevsky, “Studien zum ‘portrait historié’ in den Niederlanden” (PhD diss.,
Ludwig-Maximilians-Universität, Munich, 1967); Eddy de Jongh, Portretten van echt en trouw:
Huwelijk en gezin in de Nederlandse kunst van de zeventiende eeuw (Exh. cat. Haarlem,Frans Hals Museum) (Zwolle, 1986), 319–31.
5. John Smith, A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish andFrench Painters. 9 vols. (London, 1829–42, suppl., 1842), 9:63, no. 34. The catalogue of thesale in Paris, 23 March 1844, no. 10, describes the scene as “Une Dame en costume dechasseresse.” It is known that Van Mieris made portraits historiés; a drawing of a woman
portrayed as Diana was sold in Amsterdam, 9 March 1767, lot 1050 (index cards of Hofstedede Groot, Netherlands Institute for Art History, The Hague: “Het Pourtret van een Dameverbeeldende Diana, met zwart kryd getekend als de voorgaande, door denzelven [W.
Mieres]”).
6. Eric Jan Sluijter, in Peter Schoon and Sander Paarlberg, eds., Greek Gods and Heroes in theAge of Rubens and Rembrandt (Exh. cat. Athens, National Gallery—Museum Alexandros
Soutzos and Netherlands Institute; Dordrecht, Dordrechts Museum) (Athens, 2000), 62;
Dominique Surh, “Portrait of a Woman as Artemis,” in Salomon Lilian Old Masters (sales cat.,
Amsterdam, Salomon Lilian B. V.) (Zwolle, 2004), 54–55, no. 17.
7. As was convincingly pointed out by Marlies Enklaar in Peter Schoon and Sander Paarlberg,eds., Greek Gods and Heroes in the Age of Rubens and Rembrandt (Exh. cat. Athens,National Gallery—Museum Alexandros Soutzos and Netherlands Institute; Dordrecht,Dordrechts Museum) (Athens, 2000), 256. Compare, for example, the face of Diana with theoval pendant portrait of an unknown woman from 1706 (copper, 14.3 x 12.5 cm, whereabouts
unknown; bought in at sale, Christie’s, Amsterdam, 8 May 2012, lot 50, repr., together with apendant portrait of the husband; see Cornelis Hofstede de Groot, Beschreibendes und© 2020 The Leiden Collection

Diana, Goddess of the Hunt
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kritisches Verzeichnis der Werke der hervorragendsten Höllandischen Maler des XVII.
Jahrhunderts, 10 vols. (Esslingen and Paris, 1907–28), 10:209, 213, nos. 398 and 418). For
an overview of Van Mieris’s portraiture, see the photographs kept at the RKD (Rijksbureauvoor Kunsthistorische Documentatie/Netherlands Institute for Art History).
8. Junko Aono, “Imitation and Innovation: Dutch Genre Painting 1680–1750 and Its Reception ofthe Golden Age,” (PhD diss. University of Amsterdam, 2011), 173.
9. Panel, 20.3 x 16.2 cm, signed and dated 1709 (formerly read as “1701”), whereabouts
unknown; formerly in the H. Blank collection, Newark, N.J., appeared at sale, Christie’s,London, 3 December 2008, lot 139, repr.; see Cornelis Hofstede de Groot, A Catalogue
Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century
Based on the Work of John Smith, ed. and trans. Edward G. Hawke, 8 vols. (London,1907–28), originally published as Beschreibendes und kritisches Verzeichnis der Werke derhervorragendsten höllandischen Maler des XVII. Jahrhunderts, 10 vols. (Esslingen and Paris,1907–28), 10: no. 37.

Provenance
Private dealer, Paris, 1837.
M. Martini Collection, Paris, by 1837 (his sale, Bonnefons, Paris, 23 March 1844, no. 10 [for1140 francs]).
Private collection, Paris.
(Probably sale, Piasa & E. Madec, Paris, July 1997).
[Haboldt & Co., Paris].
[Artemis Fine Arts S. A., London, 2000–1; Salomon Lilian B. V., Amsterdam, 2004].
From whom acquired by the present owner in 2004.

Exhibition History
Athens, National Gallery/Alexandros Soutzos Museum and Netherlands Institute, “GreekGods and Heroes in the Age of Rubens and Rembrandt,” 28 September 2000–8 January
2001, no. 50; Dordrecht, Dordrechts Museum, 3 February–8 May 2001, no. 50 [lent byLondon, Artemis Fine Arts S. A.].
Raleigh, North Carolina Museum of Art, “Small Treasures: Rembrandt, Vermeer, Hals, and© 2020 The Leiden Collection

Diana, Goddess of the HuntPage 6 of 7

Their Contemporaries,” 12 October 2014–4 January 2015; Birmingham, Birmingham Museumof Art, 1 February–26 April 2015, no. 26 [lent by the present owner].
Beijing, National Museum of China, “Rembrandt and His Time: Masterpieces from TheLeiden Collection,” 17 June–3 September 2017 [lent by the present owner].
Shanghai, Long Museum, West Bund, “Rembrandt, Vermeer and Hals in the Dutch Golden
Age: Masterpieces from The Leiden Collection,” 23 September 2017–25 February 2018 [lentby the present owner].

References
Smith, John. A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish andFrench Painters. 9 vols. London, 1829–42, suppl., 1842, 9: 63, no. 34.
Hofstede de Groot, Cornelis. A Catalogue Raisonné of the Works of the Most Eminent Dutch
Painters of the Seventeenth Century Based on the Work of John Smith. Edited and t
ranslated by Edward G. Hawke, 10: 212, no. 412. 8 vols. London, 1907–28. Originallypublished as Beschreibendes und kritisches Verzeichnis der Werke der hervorragendsten
höllandischen Maler des XVII. Jahrhunderts. 10 vols. Esslingen and Paris, 1907–28.
Sluijter, Eric Jan. “Artemis.” In Greek Gods and Heroes in the Age of Rubens and Rembrandt.
Edited by Peter Schoon and Sander Paarlberg, 62. Exh. cat. Exh. cat. Athens, National
Gallery–Museum Alexandros Soutzos and Netherlands Institute; Dordrecht, Dordrechts
Museum. Athens, 2000.
Enklaar, Marlies. “Artemis.” In Greek Gods and Heroes in the Age of Rubens and Rembrandt.
Edited by Peter Schoon and Sander Paarlberg, 256–57, no. 50. Exh. cat. Athens, National
Gallery–Museum Alexandros Soutzos and Netherlands Institute; Dordrecht, Dordrechts
Museum. Athens, 2000.
Surh, Dominique. “Portrait of a Woman as Artemis.” In Salomon Lilian Old Masters. Sales cat.
Amsterdam, Salomon Lilian B.V. Zwolle, 2004, 54–55, no. 17.
Weller, Dennis P. “Portrait of a Woman as Artemis.” In Small Treasures: Rembrandt,Vermeer, Hals, and Their Contemporaries. Exh. cat. Raleigh, North Carolina Museum of Art;
Birmingham, Birmingham Museum of Art. Raleigh, 2014, 146-49, no. 26.
Yeager-Crasselt, Lara. “Diana, Goddess of the Hunt.” In Rembrandt and His Time:
Masterpieces from The Leiden Collection. Edited by Lara Yeager-Crasselt, 104, no. 42, 182,
no. 42. Translated by Li Ying. Exh. cat. Beijing, National Museum of China. Beijing, 2017.
Long Museum, West Bund. Rembrandt, Vermeer and Hals in the Dutch Golden Age:
Masterpieces from The Leiden Collection. Exh. cat. Shanghai, Long Museum, West Bund.
Shanghai, 2017, 124–25.
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Technical Summary
The support, a single plank of vertically grained, rectangular oak with bevels on all four sides, isunthinned and uncradled.[1] All four outer edges of the panel reverse have been routed 1 cm inwidth and 0.5 cm into the panel’s thickness. Adhesive residue and wood remnants along therouted surfaces suggest wood additions have been removed. The panel reverse has a few small
remnants of paper tape or paper labels but no wax seals, import stamps or panel maker’s mark.
Gero Seelig, from the Staatliches Museum Schwerin, Germany, held a symposium at the 2011
CODART meeting regarding the unusual construction of three-panel paintings from that collection,
one by Willem van Mieris. According to Seelig: “In all three, a smaller panel is inlaid into a larger
one so that only the front surface of the smaller one—surrounded by the surface of the larger
panel—shows. The actual painting extends over both surfaces. Art historians have automaticallyassumed that this construction is a later alteration of the original panel. However, conservators
can demonstrate that this is not the case. Nevertheless, in the past the supposed ‘enlargement’
was removed.” [2] Further investigation is required to determine what modification this panel may
have undergone.
A light-colored ground has been thinly and evenly applied followed by paint applied smoothly insuccessive thin layers of transparent glazing with slightly raised low brushmarking along the tree
foliage, blue plumes and drapery folds, as well as along the quivers and the blue outline anddetails of the quiver case.
No underdrawing is readily apparent in infrared images captured at 780–1000 nanometers. The
images reveal a compositional change along the blue sash above the figure’s proper left hand,which was shifted higher during the paint stage.
The painting is signed and dated in dark paint along the lower right corner.
The painting has not undergone conservation treatment since its acquisition and remains in agood state of preservation.

Technical Summary Endnotes

1. The characterization of the wood is based on visual examination of the X-radiograph andpanel reverse images by Ian Tyers. According to Tyers, the panel has good potential for
dendrochronology.
2. From CODART’s website.

© 2020 The Leiden Collection