page_title: Jerôme Duquesnoy (II)
section_title: Work
hierarchical_section_title: Jerôme Duquesnoy (II) / Work
caption_attribution_description: Praalgraf van Antonius Triest, 1652-1654; inv nr: 237
context_page_description: Jerôme Duquesnoy (II) or Hieronymus Duquesnoy (II) or the Younger was a Flemish architect and sculptor who was particularly accomplished in portraits. He played an important role in the introduction of the Baroque style in Northern European sculpture.
context_section_description: Jerôme is generally regarded as a skilled sculptor, but a less original or innovative artist than his brother François. His artistic talent has been questioned based on assumptions surrounding the use for his own work of designs made by his brother, and in particular the designs for the bust (now in the Louvre Museum in Paris) and the tomb of Bishop Triest. Already in 1642 Bishop Antonius Triest had approached François Duquesnoy in relation to this bust and monument and had sent along a painting of himself to be used as the basis for the bust. François had declined the commission because of his upcoming move to France but is still said to have made a few terracotta models for putti for the monument. There is no documentation whether or how much work François had done on the design and execution of the bust before he died in 1643. It is therefore difficult to determine how much (if any) of it is of his hand. The work was probably completed in 1643 or 1644 and is signed by Jerôme. The very high quality of the execution of the portrait has led to speculation that his brother had a major (or even sole) role in its design and even execution.
  It is likely that the design of the tomb monument itself, which was made almost a decade later, was by Jerôme's own hand. The monument is placed in an architectural frame of black and white marble and depicts Mary and Christ looking down on the effigy of the Bishop reclining on a sarcophagus. The portrait of the Bishop in the monument is particularly fine although some have compared it unfavourably with the earlier bust of the Bishop.
  He worked in the baroque style with classicistic tendencies pioneered by his brother. This style can be clearly seen in the marble depicting the Rape of Ganymede that was recently rediscovered by Alain Jacobs (LWL-Museum für Kunst und Kultur, see A. Jacobs, Le Ganymède et l’aigle de Jérôme Duquesnoy le Jeune, in: Revue de l'Art, 2001, nr. 2, p. 57-66, Münster). One of his most successful works is the marble statue of a kneeling Saint Ursula placed in the Saint Ursula Chapel in the Sablon Church in Brussels.
caption: Tomb monument of Bishop Triest (detail)
exif: {"Image ImageWidth": "2360", "Image ImageLength": "1200", "Image BitsPerSample": "[8, 8, 8]", "Image PhotometricInterpretation": "2", "Image ImageDescription": "Praalgraf van Antonius Triest, 1652-1654; inv nr: 237", "Image Orientation": "Horizontal (normal)", "Image SamplesPerPixel": "3", "Image XResolution": "300", "Image YResolution": "300", "Image ResolutionUnit": "Pixels/Inch", "Image Software": "Adobe Photoshop CS5 Windows", "Image DateTime": "2012:07:18 20:01:26", "Image Artist": "Jeroom Du Quesnoy de jonge", "Image Copyright": "\u00a9 Pol Mayer / Paul M.R. Maeyaert", "Image ExifOffset": "340", "Thumbnail Compression": "JPEG (old-style)", "Thumbnail XResolution": "72", "Thumbnail YResolution": "72", "Thumbnail ResolutionUnit": "Pixels/Inch", "Thumbnail JPEGInterchangeFormat": "490", "Thumbnail JPEGInterchangeFormatLength": "5232", "EXIF ExifVersion": "0221", "EXIF ColorSpace": "Uncalibrated", "EXIF ExifImageWidth": "1000", "EXIF ExifImageLength": "508"}