Jan Lievens(Leiden 1607 – 1674 Amsterdam)

How to cite
Bakker, Piet. “Jan Lievens” (2017). In The Leiden Collection Catalogue, 2nd ed. Edited by Arthur K.
Wheelock Jr. New York, 2017–20. https://theleidencollection.com/artists/jan-lievens/ (archived June 2020).
A PDF of every version of this biography 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 narrative
occurs.

Jan Lievens was born in Leiden on 24 October 1607. His parents were Lieven Hendricx (1570–1642), “askillful embroiderer,” and Machtelt Jansdr van Noortsant (1580–1622).[1] The couple would have eightchildren, of whom Jan and Dirck (1612–50/51) would become painters, and Joost (Justus) (1606–49), theeldest son, a bookseller.[2] In 1632 Joost married an aunt of the painter Jan Steen (1626–79).[3]At the age of eight, Lievens was apprenticed to Joris van Schooten (ca. 1587–ca. 1653), “who painted well[and] from whom he learned the rudiments of both drawing and painting.”[4] According to Jan Jansz Orlers (lifedates), Lievens left for Amsterdam two years later in 1617 to further his education with the celebrated history
painter Pieter Lastman (1583–1633), “with whom he stayed for about two years making great progress inart.”[5] What impelled his parents to send him to Amsterdam at such a young age is not known. When hereturned to Leiden in 1619, barely twelve years old, “he established himself thereafter, without any othermaster, in his father’s house.”[6]In the years that followed, Lievens painted large, mostly religious and allegorical scenes. His subjects andcompositions, like his use of color and striking chiaroscuro, however, bear little relation to the work of
Lastman; rather, they share qualities with Utrecht Caravaggisti such as Dirck van Baburen (ca.
1594/95–1624), Hendrick ter Brugghen (1588–1629), and Gerrit van Honthorst (1592–1656).[7] The similarity
raises the question of whether he might have spent some time with a Utrecht master; considering Lievens’s
young age at the time, this supposition is certainly reasonable, though for the time being there are no
documents to support it. His rendering of dramatic candlelight also seems to be indebted to Peter Paul
Rubens (1577–1640), whose masterpiece Judith with the Head of Holofernes was in the collection of
Theodorus Schrevelius (1572-1649), the noted rector of the Latin school in Leiden in 1621.[8] No doubt such a“Utrecht” painting was at the center of a dispute between Lievens’s father and Johan François Tortarolis (ca.
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1600–53), the director of the Leiden Lending Bank, who refused to pay for a work painted by Lievens in
1624.[9]This affinity with the Utrecht Caravaggisti diminished significantly after 1625, the year in which Rembrandt van
Rijn (1606–69) returned to Leiden after having apprenticed in Amsterdam with Lievens’s former master,
Lastman, for half a year. Lievens and Rembrandt maintained exceptionally close ties, though, despite somesuggestions, there is no evidence that the two painters ever shared a workshop.[10] Their relationship may
perhaps best be characterized as one of “creative competition.”[11] This emerges from their work after 1625, in
which they traded subjects and technical discoveries back and forth while the one tried to equal if not surpassthe other in composition and interpretation. They also portrayed each other and served as models for eachother’s paintings. Hence, the figure in the background of Rembrandt’s Allegory of Hearing is assumed to be
Lievens.[12]The extent to which the two painters responded to each other also emerges from the autobiographicalmemoirs of Constantijn Huygens (1596–1687), secretary to Stadholder Frederik Hendrik (1584–1647).[13]Huygens met Lievens and Rembrandt while visiting Leiden in October 1628, and was greatly impressed bytheir talent. “I dare say that Rembrandt surpasses Lievens in the faculty of penetrating to the heart of his
subject matter and bringing out its essence, and his works come across more vividly,” according to Huygens,but “Lievens, in turn, surpasses him in the proud self-assurance that radiates from his compositions and theirpowerful forms. All that his young spirit strives after must be grand and exalted. He is inclined to depict theobjects and models before him not life-size, but larger than life.”[14] Prophetic words, indeed.
The contact with Huygens had a great impact on Lievens’s career. For instance, shortly after their meeting,the secretary had Lievens portray him in The Hague and offered the painter housing while he was working on
his likeness in the last months of 1628 and the first of 1629.[15] Huygens likewise probably mediated between
Lievens and other Hague owners of the artist’s work.[16] The “portrait of a Turkish commander with a Dutchhead” will also have been acquired for Frederik Hendrik’s collection through Huygens’s intercession.[17]Moreover, Frederik Hendrik bought from Lievens a life-size painting “depicting a student, amusingly dressed
up in a cap and clothing, seated near a peat fire and reading a book.”[18] The stadholder gave this work as a
gift to the English ambassador, who in turn presented it to King Charles I (1600–1649) of England. Probably
encouraged by this success, the ambitious painter conceived a plan to travel to England, undoubtedly with theintention of entering into the service of the English king. He must have abandoned his plan in April 1629
because “at the request of the Prince of Orange he was busy working on a painting that would require aroundthree months to finish.”[19]Three more years would transpire before Lievens traveled to London. What caused the delay remains a guess
for now. He may have lacked the necessary introductions for acquiring a position at the English court, acondition that had changed by the time of his departure in 1632. In the months before he left, he becameacquainted with Anthony van Dyck (1599–1641), who upon the invitation of Huygens visited The Hague in thewinter of 1631–32 to portray Frederik Hendrik, Amalia von Solms (1602–75), and their son William (1626–50).
During this sojourn, Van Dyck also met Lievens, whom he portrayed, along with Huygens, for his gallery ofcelebrated people. Lievens was deeply impressed by Van Dyck’s work, and Van Dyck would certainly have
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admired one of Lievens’s finest court commissions—the recently painted likeness of Prince Charles Louis(1617–80) of the Palatinate, the young nephew of King Charles I.[20] It is difficult, therefore, to see Lievens’s
departure for London as separate from Van Dyck’s appointment as court painter to the English king.
According to Orlers, in London, in addition to the royal couple and their two children, Lievens portrayed manyother “groote Heeren” (great lords), but all traces of these portraits are missing.[21] Given that his later style isinfluenced by Van Dyck, and a few works by the latter from this period seem to betray Lievens’s hand, itcannot be excluded that he served as a workshop assistant for Van Dyck in London.[22]Lievens left London in the spring of 1635, traveling via Calais to Antwerp, where he joined the Guild of Saint
Luke. If in London he (presumably) worked only on commission, in Antwerp he turned to the free market, forhe painted tronies again, as he had done earlier in Leiden. Entirely new, however, was his interest inlandscape. The fully personal style that he developed was grafted onto the work of Adriaen Brouwer(1605/06–38). Furthermore, he received ample commissions, primarily from the Jesuits. In this respect hedoubtless profited from his contacts with Andries Colijns de Nole (1598–1638), “an outstanding and skillful
woodcarver and sculptor,” who worked on countless commissions for Jesuit churches in Antwerp andBrussels.[23] Lievens married Colijns de Nole’s daughter Susanna (d. ca. 1646) in 1638. In 1639 he spent a
short time in Leiden, where he painted a mantelpiece with the Continence of Scipio for the Vroedschapskamerof the town hall for 1500 guilders.[24]
In March 1644 Lievens established himself in Amsterdam, a step that may have been dictated by financial
problems that had put him at the mercy of his creditors in Antwerp. He might also have hoped to make an
impression on the Amsterdam elite with a Van Dyckian painting style. After all, the portrait fashion in
Amsterdam,

which

had

been

dictatedbyRembrandt,

waschanging,

andshortly[25]

Lievens’s arrival, Govaert Flinck (1615–60) also cast off Rembrandt’s style in favor of Van Dyck’s.

after

In 1644

Lievens made his mark with the beautiful portrait of the elegantly dressed Adriaen Trip, which soon was
followed by many other commissions from leading Amsterdam families.[26] He also received commissions fromThe Hague, the second city Lievens targeted and where he lived for a few years on two occasions.[27] In 1656
he was one of the founders of the painters’ confraternity Pictura in The Hague. He had remarried by then, for
Susanna had died shortly after they had moved to Amsterdam. He wed his second wife, Cornelia de Bray
(1619–68), the daughter of a notary, in 1648.
Lievens also received official commissions. He was the only painter, for example, to take part in two of themost prestigious decorative programs of the Golden Age: the Oranjezaal in Huis ten Bosch Palace, and the
new town hall in Amsterdam. While working on the Oranjezaal around 1650, for which he painted a depictionof The Five Muses,[28] he once again encountered Huygens, who as a confidant of Amalia von Solms was
closely involved in the project. Frederick William (1620–88), Elector of Brandenburg and spouse of Frederik
Hendrik’s eldest daughter, invited Lievens to come to Berlin in 1653.[29] Upon his return he painted achimneypiece with a depiction of the Roman general Quintus Fabius Maximus for the burgomasters’ chamberin the new Amsterdam town hall in 1656.[30] And in 1660, also for the town hall, he created a monumental
depiction of an episode from the Batavian rebellion for one of the tympana of the gallery.[31] He also continued
to receive important commissions from outside of Amsterdam. In 1664 he painted a more than three-meter tall
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allegory of the god of war Mars for the new assembly hall of the States of Holland at the Hague Binnenhof.[32]Shortly thereafter he produced, together with his son Jan Andrea Lievens (1644–80), a painting of ageographer in his study for the Rijnlandhuis in his native Leiden.[33]
Lievens died in Amsterdam on 4 June 1674. Even though the artist received numerous lucrative commissions
throughout his career, he seems to have faced financial difficulty at the end of his life. In 1671 his household
effects were attached on account of arrears of rent. He ultimately left behind so much debt that his children
renounced their inheritance.

- Piet Bakker, 2017

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Endnotes

1. “Een Constich Borduyrwercker.” Jan Jansz. Orlers, Beschrijvinge der Stadt Leyden (Leiden,
1641), 375.
2. Work by Dirck Lievens is mentioned in two Leiden estate inventories. Burgomaster Jan Orlers
in 1640 owned “een Persiaensche Tronye naert leven” (a Persian tronie after life) and “twelandtschappen … ao 1638, het een de poort van Hoorn naert leven” (two landscapes … anno
1638, one of the gate of Hoorn after life). Rudolf E.O. Ekkart, Geschildert tot Leyden anno
1626 (Exh. cat. Leiden, Museum de Lakenhal) (Leiden, 1976), 17. One year later, mention
was made of “een lantschap deur Jan Lievensz broeder” (a landscape by Jan Lievens’s
brother) in the estate inventory of Claes Adriaens van der Maes, Regionaal Archief Leiden,
Notarial Archives, Notary J. van Vesanevelt, inv. 349, deed 54, 22 July 1641. In 1640 Dirck
Lievens moved to Amsterdam and in 1648 left for the East Indies, where he died in 1651.
3. Joost and his wife, Maria Steen (1596–1649), apparently both succumbed in the summer of1649 to “de heete coortse” (the plague). Abraham Bredius, Künstler-Inventare Urkunden zur
Geschichte der holla?ndischen Kunst des XVIten, XVIIten und XVIIIten Jahrhunderts, (The
Hague, 1915), 1: 194. The heirs were informed that the estate “met veel schulden soude
mogen sijn beswaert” (would be heavily encumbered with debt). Therefore, they asked theSupreme Court for benefit of inventory, which they were granted. Netherlands Institute for Art
History (RKD), The Hague, Abraham Bredius Archive, Lievens folder.
4. “Den wel-schilderenden … by den welcken hy zijne beginselen, so van Teyckenen als van
Schilderen genomen ende geleert heft.” Jan Jansz. Orlers, Beschrijvinge der Stadt
Leyden (Leiden, 1641), 376.
5. “By welcken hy met groote vorderinge vande Konst omtrent den tijt van twee jaeren geblevenis.” Jan Jansz. Orlers, Beschrijvinge der Stadt Leyden (Leiden, 1641), 376. There is noconsensus regarding the exact period during which Lievens apprenticed with Lastman in
Amsterdam. According to Schneider, Lievens left Leiden only in 1619, returning there in 1621.
Schneider refers to Orlers’s comment that Lievens just kept on working in peace during theRemonstrants revolt; given that this revolt took place on 14 October 1618, Lievens—should
Orlers be correct—was in Leiden in that year. Hans Schneider, Jan Lievens: Sein Leben undseine Werke (Haarlem, 1932; reprint with supplement by Rudolf E.O. Ekkart, Amsterdam,
1973), 3; see also Roelof van Straten, Young Rembrandt: The Leiden Years,
1606–1632, trans. R. Quartero and D.J. Martin (Leiden, 2005), 291.
6. “Heeft hy daer nae sonder eenigen anderen Meester, hem zelven ten huyse van sijn Vader
onthouden.” Jan Jansz. Orlers, Beschrijvinge der Stadt Leyden (Leiden, 1641), 376.
7. Arthur K. Wheelock Jr., “Jan Lievens: Bringing New Light to an Old Master,” in Jan Lievens: A© 2020 The Leiden Collection

Jan Lievens
Page 6 of 10

Dutch Master Rediscovered, ed. Arthur K. Wheelock Jr. (Exh. cat. Washington, D.C., National
Gallery of Art; Milwaukee, Milwaukee Art Museum; Amsterdam, Museum Het Rembrandthuis)(New Haven, 2008), 6–10.
8. Arthur K. Wheelock Jr., “Jan Lievens: Bringing New Light to an Old Master,” in Jan Lievens: A
Dutch Master Rediscovered, ed. Arthur K. Wheelock Jr. (Exh. cat. Washington, D.C., National
Gallery of Art; Milwaukee, Milwaukee Art Museum; Amsterdam, Museum Het Rembrandthuis)(New Haven, 2008), 9, derived from G.J. Hoogewerff and Johan Quirijn van Regteren
Altena, Arnoldus Buchelius: “Res Pictoriae” (The Hague, 1928), 49. The work in question ismost likely Judith with the Head of Holofernes (Herzog Anton Ulrich Museum, Braunschweig),
which Rubens painted around 1616.
9. JanBriels,VlaamseschildersendedageraadvanHollands

GoudenEeuw

1585–1630 (Antwerp, 1997), 353–54. Incidentally, upon his death in 1656, Tortarolis owned
three works by Lievens, a kitchen scene, a Bathsheba, and “een Christus” (a Christ); see
Willem Johan Jacob Cornelis Bijlevelt, “De boedel van J. F. Tortarolis te Leiden,” Oud
Holland 44 (1927): 183. See also Roelof van Straten, Young Rembrandt: The Leiden Years,
1606–1632, trans. R. Quartero and D.J. Martin (Leiden, 2005), 29.
10. Ernst van de Wetering, “De symbiose van Lievens en Rembrandt,” in Rembrandt en Lievens
in Leiden: “een jong en edel schildersduo,” ed. Christiaan Vogelaar (Exh. cat. Leiden,
Museum de Lakenhal) (Zwolle, 1991), 39–46; Arthur K. Wheelock Jr., “Jan Lievens: Bringing
New Light to an Old Master,” in Jan Lievens: A Dutch Master Rediscovered, ed. Arthur K.
Wheelock Jr. (Exh. cat. Washington, D.C., National Gallery of Art; Milwaukee, Milwaukee Art
Museum; Amsterdam, Museum Het Rembrandthuis) (New Haven, 2008), 11. On this issue,
see also Roelof van Straten, Young Rembrandt: The Leiden Years, 1606–1632, trans. R.
Quartero and D.J. Martin (Leiden, 2005), 36.
11. Christiaan Vogelaar, “Een jong en edel Leids schildersduo,” in Rembrandt en Lievens inLeiden: “een jong en edel schildersduo,” ed. Christiaan Vogelaar (Exh. cat. Leiden, Museum
de Lakenhal) (Zwolle, 1991), 14.
12. Three Musicians (Allegory of Hearing), ca. 1624–25 (The Leiden Collection, New York). See
the entry in this catalogue.
13. Huygens wrote his memoirs in Latin intermittently between May 1629 and April 1631. Various
Dutch translations of them have been published. The one used here is Albert H. Kan, De
jeugd van Constantijn Huygens door hemzelf beschreven (Rotterdam, 1971).
14. “Zo voor de vuist weg durf ik wel te stellen dat Rembrandt in trefzekerheid en levendigheid
van emoties de meerdere is van Lievens … [o]mgekeerd wint deze het door een grootsheid invinding en in gewaagdheid van onderwerpen en vormen. Al wat zijn jonge geest nastreeftmoet groots en verheven zijn. Liever nog dan zich aan de ware grootte van het afgebeelde tehouden geeft hij zijn afbeeldingen een groot format.” Albert H. Kan, De jeugd van Constantijn
Huygens door hemzelf beschreven (Rotterdam, 1971), 79.
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15. Portrait of Constantijn Huygens, ca. 1628–29 (Rijksmuseum, Amsterdam, on loan from the
Museé de la Chartreuse, Douai); Hans Schneider, Jan Lievens: Sein Leben und seine
Werke (Haarlem, 1932; reprint with supplement by Rudolf E.O. Ekkart, Amsterdam, 1973),
311–13, 333, no. 243; Werner Sumowski, Gemälde der Rembrandt-Schüler. Vol. 3, B. Keil –J. Ovens (Landau, 1983), 1807–8, no. 1286; Arthur K. Wheelock Jr., ed., Jan Lievens: A
Dutch Master Rediscovered (Exh. cat. Washington, D.C., National Gallery of Art; Milwaukee,
Milwaukee Art Museum; Amsterdam, Museum Het Rembrandthuis) (New Haven, 2008),
112–13, no. 16.
16. Huygens’s Hague network included both Thomas Brouart (1584–1635), treasurer of thestadholder, and Jacques de Gheyn III (1596–1641), whose father had instructed Huygens indrawing. Both owned a few tronies by Lievens. In his memoirs, Huyens also mentions “mijnvriend” (my friend) Nicolaes Sohier (1589–1642), an Amsterdam merchant, at whose
house—the Huis met de Hoofden on the Keizersgracht—he once saw Rubens’s Medusa after
Caravaggio. Jacob Adolf Worp, “Constantijn Huygens en de schilders van zijn tijd,” Oud
Holland (1891): 119. He also recalled that Sohier owned some work by Lievens from his
pupillage: “werken van zeer grote waarde die van een onvergelijkelijk artistiek kunnen
getuigen” (paintings of incalculable value and incomparable artistry). Albert H. Kan, De jeugd
van Constantijn Huygens door hemzelf beschreven (Rotterdam, 1971), 81. In Sohier’s
estate, along with above-mentioned work by Rubens and other South-Netherlandish and
Italian masters, was “een schildery synde een dootshooft ende eenige boecken van
Lievensz” (a painting of a skull and a few books by Lievens). Another work by him might havebeen hiding behind descriptions such as “een dito synde een oude man ende oude vrouw” (aditto of an old man and an old woman). Gemeentearchief Amsterdam, Notarial Archives,
Notary P. de Bary, inv. 1681 B, 9 September 1642; Montias Database, Frick Collection, NewYork.
17. “Portret van een Turkse bevelhebber met een Hollands hoofd.” Albert H. Kan, De jeugd van
Constantijn Huygens door hemzelf beschreven (Rotterdam, 1971), 81. This is probably An
Oriental, ca. 1629–31 (Stiftung Preussissche Schlösser und Gärten Berlin-Brandenburg,
Picture Gallery Sanssouci, Potsdam); Hans Schneider, Jan Lievens: Sein Leben und seine
Werke (Haarlem, 1932; reprint with supplement by Rudolf E.O. Ekkart, Amsterdam, 1973),
130, no. 152; Werner Sumowski, Gemälde der Rembrandt-Schüler. Vol. 3, B. Keil – J. Ovens(Landau, 1983), 1794, no. 1236.
18. “Verbeeldende een Student, geestig van muts en kleederen toegetakelt, zittende by eenbrandend turfvier in een boek te lezen.” Arnold Houbraken, De groote schouburgh der
Nederlantsche konstschilders en schilderessen (Amsterdam, 1718–21; rev. ed., The Hague,
1753; reprint, Amsterdam, 1980), 1: 297. The painting of a man reading near the hearth is nolonger known.
19. “Hy opt versouck van de Prins van Oranigen een stuck schilderie onder hant hadde, daer aen© 2020 The Leiden Collection

Jan Lievens
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hy noch omtrent drye maenden werck hadde.” Jan Briels, Vlaamse schilders en de dageraad
van Hollands Gouden Eeuw 1585–1630 (Antwerp, 1997), 352–53; Regionaal Archief Leiden,
Archief van de schutterij, inv. 5, fol. 236.
20. Jan Lievens, Prince Charles Louis of the Palatinate with His Tutor Wolrad von Plessen,monogrammed and dated 1631 (J. Paul Getty Museum, Los Angeles); Hans Schneider, Jan
Lievens: Sein Leben und seine Werke (Haarlem, 1932; reprint with supplement by Rudolf
E.O. Ekkart, Amsterdam, 1973), 328, no. 135; Werner Sumowski, Gemälde der RembrandtSchüler. Vol. 3, B. Keil – J. Ovens (Landau, 1983), 1778, no. 1186; Arthur K. Wheelock Jr.,ed., Jan Lievens: A Dutch Master Rediscovered (Exh. cat. Washington, D.C., National Galleryof Art; Milwaukee, Milwaukee Art Museum; Amsterdam, Museum Het Rembrandthuis) (NewHaven, 2008), 138–39, no. 29.
21. A 1639 inventory of the royal collection includes three portraits of members of the royal family
by Lievens, among them one of King Charles I. This portrait was later traded for the famous
fifteenth-century Wilton Diptych (National Gallery, London). Bob van den Boogert, “Lievens in
Londen. Een Leids wonderkind in Van Dycks atelier,” Kunstschrift 3 (2009): 32.
22. Bob van den Boogert, “Lievens in Londen. Een Leids wonderkind in Van Dycks
atelier,” Kunstschrift 3 (2009): 35.
23. “Eenuytnemende

ende

konstich

Beeldsnijder

ende

Beeldhouwer.”Jan

Jansz. Orlers, Beschrijvinge der Stadt Leyden (Leiden, 1641), 377.
24. The Continence of Scipio Africanus, 1640 (formerly the Vroedschapskamer of the town hall inLeiden). This work was destroyed in a fire on 12 February 1929.
25. See the biography of Govaert Flinck in this catalogue.
26. Portrait of Adriaan Trip, monogrammed and dated 1644 (Private Collection). Hans
Schneider, Jan Lievens: Sein Leben und seine Werke (Haarlem, 1932; reprint with
supplement by Rudolf E.O. Ekkart, Amsterdam, 1973), 151, no. 263; Werner
Sumowski, Gemälde der Rembrandt-Schüler. Vol. 3, B. Keil – J. Ovens (Landau, 1983),
1809, no. 1290; Arthur K. Wheelock Jr., ed., Jan Lievens: A Dutch Master
Rediscovered (Exh. cat. Washington, D.C., National Gallery of Art; Milwaukee, Milwaukee Art
Museum; Amsterdam, Museum Het Rembrandthuis) (New Haven, 2008), 164–65, no. 44. Fora survey of Lievens’s identified patrons, see: Jaap van der Veen, “Patronage for Lievens’
Portraits and History Pieces, 1644–1674,” in Jan Lievens: A Dutch Master Rediscovered, ed.
Arthur K. Wheelock Jr. (Exh. cat. Washington, D.C., National Gallery of Art; Milwaukee,
Milwaukee Art Museum; Amsterdam, Museum Het Rembrandthuis) (New Haven,2008), 28–39.
27. On Lievens and his work in The Hague, see Edwin Buijsen et al., Haagse Schilders in degouden eeuw (The Hague, 1998), 190–93, 324–25.
28. The Five Muses, monogrammed and dated 1650 (Huis ten Bosch Palace, Oranjezaal, The© 2020 The Leiden Collection

Jan Lievens
Page 9 of 10

Hague); Hans Schneider, Jan Lievens: Sein Leben und seine Werke (Haarlem, 1932; reprint
with supplement by Rudolf E.O. Ekkart, Amsterdam, 1973), 113, no. 89; Werner
Sumowski, Gemälde der Rembrandt- Schüler. Vol. 3, B. Keil – J. Ovens (Landau, 1983), 3:
1785, no. 1206.
29. For the commissions granted Lievens while he was working for Elector Frederick William in
Berlin, see Arthur K. Wheelock Jr., ed., Jan Lievens: A Dutch Master Rediscovered (Exh. cat.
Washington, D.C., National Gallery of Art; Milwaukee, Milwaukee Art Museum; Amsterdam,
Museum Het Rembrandthuis) (New Haven, 2008), 20, 176–77, no. 50.
30. Quintus Fabius Maximus Dismounts Before His Son, 1656 (Royal Palace, Amsterdam); Hans
Schneider, Jan Lievens: Sein Leben und seine Werke (Haarlem, 1932; reprint with
supplement by Rudolf E.O. Ekkart, Amsterdam, 1973), 116–17, no. 102; Werner
Sumowski, Gemälde der Rembrandt-Schüler. Vol. 3, B. Keil – J. Ovens (Landau, 1983), 3:
1787, no. 1211.
31. Brinno, Leader of the Canninefates, Raised Aloft on a Shield, monogrammed and dated 1661
(Royal Palace, Amsterdam); Hans Schneider, Jan Lievens: Sein Leben und seine
Werke (Haarlem, 1932; reprint with supplement by Rudolf E.O. Ekkart, Amsterdam, 1973),
115–16, no. 99; Werner Sumowski, Gemälde der Rembrandt-Schüler. Vol. 3, B. Keil – J.
Ovens (Landau, 1983), 3: 1788, no. 1213.
32. Mars or the Consequences of War, monogrammed and dated 1664 (First Chamber of theStates General, The Hague); Hans Schneider, Jan Lievens: Sein Leben und seine
Werke (Haarlem, 1932; reprint with supplement by Rudolf E.O. Ekkart, Amsterdam, 1973),
112, no. 86; Werner Sumowski, Gemälde der Rembrandt-Schüler. Vol. 3, B. Keil – J.
Ovens (Landau, 1983), 3: 1798, no. 1247.
33. The Geographer, ca. 1665 (Rijnlandhuis, Leiden); Hans Schneider, Jan Lievens: Sein Leben
und seine Werke (Haarlem, 1932; reprint with supplement by Rudolf E.O. Ekkart, Amsterdam,
1973), 121, no. 117; Werner Sumowski, Gemälde der Rembrandt-Schüler. Vol. 3, B. Keil – J.
Ovens (Landau, 1983), 3: 1798, no. 1248; Arthur K. Wheelock Jr., ed., Jan Lievens: A Dutch
Master Rediscovered (Exh. cat. Washington, D.C., National Gallery of Art; Milwaukee,
Milwaukee Art Museum; Amsterdam, Museum Het Rembrandthuis) (New Haven, 2008),
186–87, no. 55.

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