Hermit Praying in the Wilderness

1707

Willem van Mieris(Leiden 1662 – 1747 Leiden)

oil on panel
21 x 17.4 cm
signed and indistinctly dated in dark paint,
upper right corner: “W. Van. Mieris, Fe Ano1707”
WM-100Currently on view at: Sterling and Francine
Clark Art Institute, Williamstown, MA© 2017 The Leiden Collection

Hermit Praying in the Wilderness
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How To Cite
Aono, Junko. "Hermit Praying in the Wilderness." In The Leiden Collection Catalogue. Edited by Arthur K.
Wheelock Jr. New York, 2017.
https://www.theleidencollection.com/archive/.
This page is available on the site's Archive. PDF of every version of this page is available on the Archive,
and the Archive is managed by a permanent URL. Archival copies will never be deleted. New versions areadded only when a substantive change to the narrative occurs.

© 2017 The Leiden Collection

Hermit Praying in the Wilderness
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An old hermit, tucked away in a rocky cave opening to a mountainous

Comparative Figureslandscape, clasps his hands in prayer as he bends over a stone table,
upon which rest two books, a skull and a crucifix. He gazes downward
upon the open pages of one of the books, his eyes almost closed as heconcentrates inwardly on the meaning of the text. Light falling from theupper left separates the bearded hermit from the darkness of the grotto,and creates tiny, shimmering highlights on the sculpted figure of Christ on
the wooden crucifix.
The religious character of the image might lead to the assumption that thepainting was destined for a Catholic patron, but the subject of a religious
recluse was not uncommon in the Protestant culture of the Netherlands inthe seventeenth and eighteenth centuries.[1] One hermit that appears in aFig 1. Willem van Mieris,
Repentant Mary Magdalene,1709, oil on panel, 20.3 x 15.7
cm, present location unknown

number of Dutch paintings is Saint Jerome, the leading translator of theBible.[2] Although Willem van Mieris did not include Saint Jerome’s
attributes of a lion and a pen, he may well have had this hermit in mind
when conceiving this work. A sales catalogue from 1747—the earliest
known record of this picture—identifies the painting as “St. Jerome in acell.” This catalogue also notes that the painting had a pendant, Mary
Magdalene, by the same master, a painting that can be identified asTheRepentant Mary Magdalene of 1709 (fig 1).[3] In this painting, Mary
Magdalene sits with her attributes in a similarly craggy landscape. She
also turns her head and upper body to look at a crucifix on her right in sucha manner that visually connects her to the hermit in the present picture.[4]As one of the most esteemed successors to the seventeenth-century
painter Gerrit Dou (1613–75), Van Mieris often adapted subjects andmotifs from Dou’s pictures. The present painting is no exception.[5] At least
eleven pictures by Dou feature hermits. The Hermit of 1670 (NationalGallery of Art, Washington D.C.), for instance, depicts the same type of oldman before a Bible, a crucifix, a skull, a basket, and an hourglass on astone table.[6] In his picture, Van Mieris clearly carried on Dou’s pictorialtradition. He also strove to emulate Dou’s refined painterly technique ofdifferentiating surfaces in his figures and still-life objects. The delicately
executed and minute details of the still life on the rock and the old man’shead and hands—especially the wrinkled forehead with the bulging veins,thelonggraybeard,andtheruggedhands

withblackfingernails—demonstrate Van Mieris’s utmost effort to display his virtuosity
as a “fine painter.”© 2017 The Leiden Collection

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The great reputation of Dou’s hermit paintings among early eighteenthcentury collectors must have been one of the factors that determined Van
Mieris’s choice of the subject.[7] For instance, the artist’s chief patron inLeiden, the illustrious collector Pieter de la Court van der Voort, bought
one of Dou’s hermits from another elite Leiden collector for the enormous
amount of 3,000 guilders in 1710.[8] It thus comes as no surprise that Van
Mieris chose this subject to parade his virtuosic technique as he sought toappeal to the art lovers of his day.
-Junko Aono

© 2017 The Leiden Collection

Hermit Praying in the Wilderness
Page 5 of 8Endnotes
1. For the religious affiliation of owners of hermits by Gerrit Dou or other Leiden painters, see
Eric Jan Sluijter, ed., Leidse fijnschilders: Van Gerrit Dou tot Frans van Mieris de Jonge,1630–1760 (Exh. cat. Leiden, Stedelijk Museum de Lakenhal) (Zwolle, 1988), 111–13, no.
15 (cf. 85–87, no. 3); Ronni Baer, “The Paintings of Gerrit Dou (1613–1675)” (Ph.D. diss.,
New York University, 1990), 55 n. 143; Annegret Laabs, ed., De Leidse Fijnschilders uit
Dresden (Exh. cat. Leiden, Stedelijk Museum De Lakenhal) (Zwolle, 2001), 35–37.
2. Hermit iconography also stemmed from Saint Francis; see, for instance, Eric Jan Sluijter,ed., Leidse fijnschilders: Van Gerrit Dou tot Frans van Mieris de Jonge, 1630–1760 (Exh.
cat. Leiden, Stedelijk Museum de Lakenhal) (Zwolle, 1988), 86. The image of a humble
anchorite, withdrawn from society and contemplating God in a wasteland, was probably
viewed as a personification of piety and devotion, virtues that serve as a foil to thematerialistic, active life on earth. For an interpretation of the hermit as a symbol ofcontemplative life, in contrast to active life, see Ronni Baer, “The Paintings of Gerrit Dou(1613–1675)” (Ph.D. diss., New York University, 1990), 55–56; Arthur K. Wheelock Jr.,
Dutch Paintings of the Seventeenth Century (Oxford, 1995), 57–60; Ronni Baer, Arthur K.
Wheelock Jr., and Annetje Boersma, Gerrit Dou, 1613–1675: Master Painter in the Age ofRembrandt (Exh. cat. Washington D.C., National Gallery of Art; London, Dulwich Picture
Gallery; The Hague, Royal Cabinet of Paintings Mauritshuis, 2000–1) (Zwolle, 2000),
132–33, no. 34; Annegret Laabs, ed., De Leidse Fijnschilders uit Dresden (Exh. cat. Leiden,Stedelijk Museum De Lakenhal) (Zwolle, 2001), 35.
3. Jacques de Roore, his sale, The Hague, 4 September 1747, no. 104 (£153, together with
no. 105 as a pendant, sold to Van Spangen). The Repentant Mary Magdalene was with
Sphinx Fine Art in London in 1997.
4. As this painting was executed two years later than the one of the hermit, it remains uncertain
whether Van Mieris intended from the start to make a pair of these two paintings. Theirunion, however, gives us a glimpse into the early context of display, in which the hermit wasviewed and appreciated in an eighteenth-century collector’s cabinet.
5. For Willem van Mieris’s borrowing of motifs and subjects from Dou’s paintings, see JunkoAono, “Looking Back to the Dutch Golden Age: Early Eighteenth-Century Genre Painting byWillem van Mieris,” in Holland nach Rembrandt: Zur niederländischen Kunst zwischen
1670 und 1750, ed. Ekkehard Mai (Cologne, 2006), 225–46; and Junko Aono,Confronting
the Golden Age: Imitation and Innovation in Dutch Genre Painting 1680-1750 (Amsterdam,2015), 84-94. Another picture by Dou, Hermit Praying (Minneapolis Institute of Arts),
displays meticulous detail, including the clasped rugged hands with dirty fingernails, which
are also found in the current painting by Van Mieris.
© 2017 The Leiden Collection

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6. Arthur K. Wheelock Jr., Dutch Paintings of the Seventeenth Century (Oxford, 1995), 57–60;
Ronni Baer, Arthur K. Wheelock Jr., and Annetje Boersma,Gerrit Dou, 1613–1675: MasterPainter in the Age of Rembrandt (Exh. cat. Washington D.C., National Gallery of Art;
London, Dulwich Picture Gallery; The Hague, Mauritshuis, 2000–1) (Zwolle, 2000), 132–33,
no. 34.
7. The subject of the hermit was in high favor with Leiden painters, such as Quirijn vanBrekelenkam and Dou’s followers who worked in his manner. See Eric Jan Sluijter, ed.,Leidse fijnschilders: Van Gerrit Dou tot Frans van Mieris de Jonge, 1630–1760 (Exh. cat.
Leiden, Stedelijk Museum de Lakenhal) (Zwolle, 1988), 85–87, 113; Ronni Baer, “ThePaintings of Gerrit Dou (1613–1675)” (Ph.D. diss., New York University, 1990), 53 n. 137.
8. De la Court bought this picture from Witterd van der Aa with the agency of the painter Carelde Moor. Regionaal Archief Leiden, family archive of De la Court, nr. 117a: the self-written
inventory of Allard de la Court of 1749: “the large room at the side of Rapenburg groote[kaamer aan ’t Raapenburg] . . . Class A [’t soort A],” no. 5. Th. H. Lunsingh Scheurleer etal., Het Rapenburg: Geschiedenis van een Leidse gracht , 10 vols. (Leiden, 1986–92),
2:442. According to the eighteenth-century artist-biographer Jacob Campo Weyerman, whosaw the picture at Pieter de la Court’s house, the painting was “painted gloriously,miraculously, and in such indescribable detail that greater artistry was inconceivable”: Jacob
Campo Weyerman, De levens-beschryvingen der Nederlandsche konst-schilders en konstschilderessen, 4 vols. (The Hague, 1729–69), 2:117–18. Two years earlier, August II,
Elector of Saxony, had purchased another hermit by Dou from an Antwerp dealer for
approximately 1,000 guilders: Ronni Baer, “The Paintings of Gerrit Dou (1613–1675)” (Ph.D.
diss., New York University, 1990), no. 28; 52 n. 134.

Provenance
Jacques de Roore (his sale, The Hague, 4 September 1747, no. 104 [£153, together with
no. 105, Mary Magdalene, as its pendant, to Van Spangen]).
John van Spangen (his sale, London, 12 February 1748, no. 73 [for £43.1]).
Philippus van der Land (his sale, Amsterdam, 22 May 1776, no. 55 [for 180 florins, together
with no. 54, Mary Magdalene, as its pendant]).
Charles Alexander de Calonne (his sale, Skinner and Dyke, London, 23 March 1795, no. 37[for £48.6]).
Edward Atkinson, Fowey (his sale, London, 9 March 1912, no. 163).
Possibly Major Forbes Fraser (his sale, London, 21 November 1924, no. 120).
(Possibly sale, Christie’s, London, 14 July 1961, no. 60).
© 2017 The Leiden Collection

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Private collection, South America [Otto Naumann, Ltd., New York, 1992; to Bert van Deun,1993].
Bert van Deun, Belgium, 1993 [Otto Naumann, Ltd., New York, 2004].
From whom acquired by the present owner in 2004.

Exhibition History
Williamstown, The Sterling and Francine Clark Art Institute, “An Inner World: SeventeenthCentury Dutch Genre Painting,” 5 March–17 September 2017 [lent by the present owner].

References
Buchanan, William. Memoirs of Painting, with a Chronological History of the Importation ofPictures by the Great Masters into England since the French Revolution . 2 vols. London,1824, 1:236, no. 37.
Smith, John. A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish andFrench Painters. 9 vols. London, 1829–42, 1:96, no. 29.
Hofstede de Groot, Cornelis. Beschreibendes und kritisches Verzeichnis der Werke derhervorragendsten höllandischen Maler des XVII. Jahrhunderts. 10 vols. Esslingen andParis, 1907–28, 10:116, no. 41.

Versions
Versions and Copies
1. Repentant Mary Magdalene, signed and dated, upper right: W. VAN MIERIS 1709, oil onpanel, 20.3 x 15.7 cm, present location unknown.

Versions Notes© 2017 The Leiden CollectionPowered by TCPDF (www.tcpdf.org)

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Technical Summary
The support, a single plank of vertically grained, rectangular oak, has bevels on all foursides.[1] The unthinned and uncradled panel has wide, shallow, horizontal handtool marks andthree deep horizontal gouges but no machine tool marks. There is a stencil and remnants of four
paper labels but no wax seals, import stamps or panel maker’s marks along the reverse.
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 theshadows of the hermit’s blue robe, the edges of the book pages, and the dark foliage along theupper left quadrant.
No underdrawing or compositional changes are readily apparent in infrared images captured at
780–1000 nanometers.
The painting is signed and indistinctly dated in dark paint along the upper right corner.
The painting underwent minor conservation treatment in 2004 and 2012 and remains in a goodstate 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 does not have great
potential for dendrochronology. The shims would need to be removed from the upper andlower edges to give access to both endgrains, as the panel is short of rings.

© 2017 The Leiden Collection