This portrait once formed half of a folding, portable diptych. The sitter\u2014identi\ufb01able through his coat of arms, personal motto, and initials on the back of the panel\u2014is Jean Gros, an administrator to the future Duke of Burgundy. This portrait depicts him at the outset of a successful career, during which he amassed a large fortune and led a privileged life. Rogier van der Weyden presented the half-length \ufb01gure against a plain, dark background, which accentuates his features and his expressive hands.<\/p>\n
This gesture indicates that the sitter\u2019s prayerful gaze was originally directed at another panel with an image of Mary and the infant Jesus, now in the Mus\u00e9e des Beaux-Arts in Tournai, Belgium; Gros\u2019s coat of arms is on the back of that panel as well. This type of diptych, which was intended to suggest continuous prayer and to record the donor\u2019s features, was probably \ufb01rst made for royalty around 1400, but Van der Weyden revitalized it in the mid-\ufb01fteenth century, creating similar diptychs for patrons at the highest level of the Burgundian court. In commissioning one for himself, Gros was displaying his ambition as well as his close associations with the duke and his retinue.<\/p>\n","short_description":"This portrait was once part of a diptych. The sitter\u2014identifiable through his coat of arms, personal motto, and initials on the panel's back\u2014is Jean Gros, an administrator to the future duke of Burgundy. His prayerful gaze was originally directed at the other panel depicting Mary and the infant Jesus. Rogier van der Weyden created similar diptychs for the Burgundian court's highest level of patrons.","dimensions":"38.5 \u00d7 28.8 cm (15 3\/16 \u00d7 11 3\/8 in.); Reverse: 39 \u00d7 28.8 cm (15 3\/8 \u00d7 11 3\/8 in.); Framed: 43.2 \u00d7 35.6 \u00d7 7.7 cm (17 \u00d7 14 \u00d7 3 in.)","dimensions_detail":[{"depth":null,"width":28,"height":38,"diameter":null,"clarification":null},{"depth":null,"width":28,"height":39,"diameter":null,"clarification":"Reverse"},{"depth":7,"width":35,"height":43,"diameter":null,"clarification":"Framed"}],"medium_display":"Oil on panel","inscriptions":"Inscribed verso: coat of arms of Jean Gros; 1 GRACES . A DIEV. (on banderole); JG (flanking escutcheon)","credit_line":"Mr. and Mrs. Martin A. Ryerson Collection","catalogue_display":null,"publication_history":"W. H. James Weale, Belgium, Aix-la-Chapelle and Cologne, London,1859, p. 164. \n\nEmile Van den Bussche, \u201cMuseum Flandrense I:Le Cabinet du docteur De Meyer, \u00e0 Bruges,\u201d La Flandre: Revue des monuments d\u2019histoire et d\u2019antiquit\u00e9s (1875), pp. 189\u201390.\n\nEduard Firmenich-Richartz, \u201cHugo van der Goes,\u201d Zeitschrift f\u00fcr christliche Kunst 10 (1897), p. 378. \n\nEduard Firmenich-Richartz, \u201cRoger van der Weyden, der Meister von Fl\u00e9malle: Ein Beitrag zur Geschichte der vl\u00e4mischen Malerschule,\u201d Zeitschrift f\u00fcr bildende Kunst 10 (1898\u201399), p. 143. \n\nMax J. Friedl\u00e4nder, Ausstellung von Kunstwerken des Mittelalters und der Renaissance aus Berliner Privatbesitz veranstaltet von der Kunstgeschichtlichen Gesellschaft, 20. Mai bis 3. Juli 1898, Berlin, 1899, p. 7. \n\nWilhelm von Bode, Gem\u00e4ldesammlung des Herrn Rudolf Kann in Paris, Vienna, 1900, pp. xxviii\u2013xxix, pl. 84. \n\n\u00c9mile Michel, \u201cLa Galerie de M. Rodolphe Kann,\u201d Gazette des Beaux Arts, 3rd ser., 25 (1901), p. 498. \n\nAuguste Marguillier, \u201cLa Collection de M. Rodolphe Kann,\u201d Les Arts, no. 13 (1903), p. 3 (ill.). \n\nSeymour de Ricci, \u201cUn Groupe d\u2019oeuvres de Roger van der Weyden,\u201d Gazette des Beaux-Arts, 3rd ser., 38 (1907), pp. 185\u201388 (ill.).\n\nCharles Sedelmeyer, Catalogue of the Rodolphe Kann Collection, Paris, 1907, vol. 1, p. xx, vol. 2, p. 15, no. 110 (ill.). \n\nC. J. Holmes, \u201cRecent Acquisitions by Mrs. C. P. Huntington from the Kann Collection,\u201d Burlington Magazine 12 (1908), p. 205. \n\nFerdinand Laban, \u201cEin neuer Roger, Begleitworte zu seiner Ver\u00f6ffentlichung,\u201d Zeitschrift f\u00fcr bildende Kunst, n.s., 19 (1908), pp. 58, 60 (ill.). \n\nMarcel Nicolle, \u201cLa Collection Rodolphe Kann,\u201d La Revue de l\u2019art ancien et moderne\n23 (1908), p. 192. \n\nConnoisseur 24 (1909), p. 69 (color ill.). \n\nFriedrich Winkler, Der Meister von Fl\u00e9malle und Rogier van der Weyden, Strasbourg, 1913, p. 174. \n\nThe Art Institute of Chicago, General Catalogue of Paintings, Sculpture, and Other Objects in the Museum, 1914, p. 209, no. 2099.\n\n\u201cLoan Collections,\u201d Bulletin of the Art Institute of Chicago 7 (1914), p. 38 (ill.). \n\nThe Art Institute of Chicago, Handbook of Sculpture, Architecture, Paintings, and Drawings, vol. 2, August 1920, p. 64. \n\nMartin Conway, The Van Eycks and Their Followers, London, 1921, p. 148. \n\nMax J. Friedl\u00e4nder, Von Eyck bis Bruegel: Studien zur Geschichte der niederl\u00e4ndischen Malerei, Berlin, 1921, p. 185. \n\nMax J. Friedl\u00e4nder, \u201cThe Pictures of Rogier van der Weyden in America,\u201d Art in America 9 (1921), pp. 62, 65, fig. 2.\n\nThe Art Institute of Chicago, Handbook of Sculpture, Architecture, and Paintings, May 1922, p. 74. \n\nFriedrich Winkler, Le Val\u00e8re Maxime de Leipzig avec une introduction sur les commencements de la peinture de genre aux Pays-Bas, Leipzig, 1922, pp. 12\u201313 (ill.). \n\nG[eorges] Hulin de Loo, \u201cDiptychs by Rogier van der Weyden,\u201d Burlington Magazine 43 (1923), p. 54; 44 (1924), pp. 185\u201389, pl. 2D. \n\nMax J. Friedl\u00e4nder, Die altniederl\u00e4ndische Malerei, vol. 2, Berlin,1924, pp. 37, 40\u201343, 101, no. 28, pl. 25; rev. English ed., Early Netherlandish Painting, Brussels and Leiden, 1967, pp. 24, 26\u201327, 66, no. 28, pl. 51. \n\nGeorges Hulin de Loo, \u201cA Mysterious Our Lady by Dieric Bouts,\u201d Burlington Magazine 45 (1924), p. 56. \n\nFriedrich Winkler, Die altniederl\u00e4ndische Malerei: Die Malerei in Belgien und Holland von 1400\u20131600, Berlin, 1924, pp. 84, 86\u201387. \n\nThe Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection, 1925, p. 162, no. 2088. \n\nRose Mary Fischkin, \u201cMartin A. Ryerson Collection of Paintings and Sculpture, XIII to XVII Century, Loaned to The Art Institute of Chicago,\u201d unpub. MS, 1926, Ryerson Library, The Art Institute of Chicago, pp. 70\u201372, no. 2088. \n\nWilhelm Stein, \u201cDie Bildnisse von Roger van der Weyden,\u201d Jahrbuch der preussischen Kunstsammlungen 47 (1926), pp. 18, 31\u201332. \n\nMartin Conway, ed., Catalogue of the Loan Exhibition of Flemish and Belgian Art, Burlington House, London, 1927: A Memorial Volume, exh. cat., London, Burlington House, 1927, p. 19.\n\nMarguerite Devigne, \u201cNotes sur l\u2019exposition d\u2019art flamand et belge \u00e0 Londres, I,\u201d Oud Holland 44 (1927), p. 72. \n\nFlemish and Belgian Art, 1300\u20131900, exh. cat., London, Royal Academy of Arts, 1927, p. 179, under no. 38. \n\nG[eorges] Hulin de Loo and \u00c9douard Michel, Early Flemish Paintings in the Renders Collection at Bruges: Exhibited at the Belgian Exhibition, Burlington House, January, 1927, London, 1927, pp. 59\u201361. \n\nH. Fierens-Gevaert, Histoire de la peinture flamande des origines \u00e0 la fin du XVe si\u00e8cle, vol. 2, Paris and Brussels, 1928, p. 60, fig. 84. \n\nJules Destr\u00e9e, Roger de la Pasture\u2013van der Weyden, Paris and Brussels, 1930, p. 117, pl. 38. \n\nJ. P. Meurgey, Les Principaux Manuscrits \u00e0 peintures du Mus\u00e9e Cond\u00e9 \u00e0 Chantilly, Paris, 1930, pp. 171\u201372. \n\n\u00c9mile Renders, La Solution du probl\u00e8me van der Weyden\u2014Fl\u00e9malle\u2014Campin, vol. 2, Bruges, 1931, p. 51, pl. 22D. \n\n\u00c9douard Michel, review of Renders 1931, in La Revue de l\u2019art ancien et moderne 60 (1931), pp. 124\u201325 (ill.). \n\nThe Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection, 1932, p. 183, no. 429.13. \n\n\u201cRyerson Makes Princely Bequest to the Art Institute of Chicago,\u201d Art Digest 6, 20 (1932), p. 3 (ill.). \n\nAlfred M. Frankfurter, \u201cArt in the Century of Progress,\u201d Fine Arts 20, 2 (1933) , pp. 21 (ill.), 60. \n\n\u201cThe Rearrangement of the Painting Galleries,\u201d Bulletin of the Art Institute of Chicago 27 (1933), p. 114. \n\nDaniel Catton Rich, \u201cDie Ausstellung \u2018F\u00fcnf Jahrhunderte der Fr\u00fchmalerei in Chicago,\u2019\u201d Pantheon 6 (1933), p. 376. \n\nDaniel Catton Rich, \u201cThe Paintings of Martin A. Ryerson,\u201d Bulletin of the Art Institute of Chicago 27 (1933), pp. 11\u201313. \n\n\u201cReport for the Year 1933,\u201d Bulletin of the Art Institute of Chicago 38 (1934), p. 22 (ill.). \n\nHans Wolfgang Singer, Neuer Bildniskatalog, vol. 2, Leipzig, 1937, p. 183. \n\nG[eorges] Hulin de Loo, \u201cVan der Weyden,\u201d in Acad\u00e9mie Royale des Sciences, des Lettres, et des Beaux-Arts de Belgique, Biographie nationale, vol. 27, Brussels, 1938, col. 239. \n\nWolfgang Sch\u00f6ne, Dieric Bouts und seine Schule, Berlin and Leipzig, 1938, p. 61. \n\nErnst Kantorowicz, \u201cThe Este Portrait by Rogier van der Weyden,\u201d Journal of the Warburg and Courtauld Institutes 3 (1939\u201340), p. 167. \n\nDuveen Pictures in Public Collections in America, New York, 1941, n.pag., no. 171 (ill.). \n\nW[illem] Vogelsang, Rogier van der Weyden, Amsterdam, [1941], pp. 52 (ill.), 54, 56. \n\nF[riedrich] Winkler, \u201cRogier van der Weyden,\u201d in Ulrich Thieme and Felix Becker, Allgemeines Lexikon der bildenden K\u00fcnstler von der Antike bis zur Gegenwart, vol. 35, Leipzig, 1942, pp. 471, 475. \n\nAn American Correspondent, \u201cFlemish and Dutch Paintings in the Ryerson Collection,\u201d Connoisseur 119 (1947), pp. 46\u201347, fig. 2. \n\nTheodor Musper, Untersuchungen zu Rogier van der Weyden und Jan van Eyck, Stuttgart, 1948, p. 24. \n\nHermann Beenken, Rogier van der Weyden, Munich, 1951, pp. 70\u201371, 96, fig. 97. \n\nAline B. Louchheim, \u201cA New Yorker Visits the Art Institute,\u201d Art Institute of Chicago Quarterly 46 (1952), pp. 23\u201324 (ill.). \n\nErwin Panofsky, Early Netherlandish Painting: Its Origins and Character, Cambridge, Mass., 1953, pp. 295\u201396, 480, fig. 369. \n\nL. Ninane, \u201cUn Calvaire sur fond or de l\u2019ancienne collection E. Renders: Peut-il \u00eatre attribu\u00e9 \u00e0 un ma\u00eetre italien de l\u2019\u00e9cole d\u2019Avignon?\u201d Revue belge d\u2019arch\u00e9ologie et d\u2019histoire de l\u2019art 23 (1954), p. 61. \n\nJohn Bartier, L\u00e9gistes et gens de finances au XVe si\u00e8cle, Brussels, 1955, p. 380. pl. 4. \n\nRuth Massey Tovell, Roger van der Weyden and the Fl\u00e9malle Enigma, Toronto, 1955, pp. 31\u201332, fig. 54. \n\nThe Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection, 1961, pp. 147 (ill.), 482\u201383. \n\nJ[acqueline] F[olie], in Hommage \u00e0 Roger de le Pasture\u2013Van der Weyden, exh. cat., Cath\u00e9drale Notre-Dame de Tournai, 1964, nos. 4, 21. \n\nFrederick A. Sweet, \u201cGreat Chicago Collectors,\u201d Apollo 84 (1966), p. 198, fig. 23. \n\nCharles D. Cuttler, Northern Painting from Pucelle to Bruegel, New York, 1968, p. 127. \n\nMargaret Whinney, Early Flemish Painting, London, 1968, pp. 65\u201366. \n\nJohn Bartier, Charles le T\u00e9m\u00e9maire, Brussels, 1970, pp. 96\u201397 (ill.). \n\nDirk de Vos, \u201cDe Madonna-en-Kindtypologie bij Rogier van der Weyden,\u201d Jahrbuch der Berliner Museen, n.s., 13 (1971), pp. 104, 129. \n\nMartin Davies, Rogier van der Weyden, London, 1972, pp. 210, 235\u201336, pl. 92. \n\nJan Rotsaert, \u201cHet hoogaltaar in de Sint-Jacobskerk to Brugge,\u201d Het Bruggse Ommeland 15 (1975), p. 124. \n\nJane B. Friedman, \u201cAn Iconological Examination of the Half-Length Devotional Portrait Diptych in the Netherlands, 1460\u20131530,\u201d Ph.D. diss., University of California, Los Angeles, 1977, pp. 97\u201398, 195\u201396, fig. 22. \n\nLorne Campbell, \u201cL\u2019Art du portrait dans l\u2019oeuvre de Van der Weyden,\u201d in 1979 exhibition catalogue.\n\nArtur, Graf Strachwitz, \u201cBr\u00fcssels offizieller Stadtmaler,\u201d Weltkunst 49 (1979), pp. 3147, 3149 (ill.). \n\nJeffrey Chipps Smith, \u201cThe Artistic Patronage of Philip the Good, Duke of Burgundy (1419\u20131467),\u201d Ph.D. diss., Columbia University, 1979, p. 240. \n\nLorne Campbell, Van der Weyden, New York, 1980, pp. 9\u201310, 73, no. 46 (ill.). \n\nAlistair Smith, review of Brussels1979 exhibition catalogue, in Burlington Magazine 122 (1980), p. 91. \n\nLarry Silver, \u201cEarly Northern European Paintings,\u201d Saint Louis Art Museum Bulletin, n.s., 16, 3 (1982), p. 5.\n\nC[atheline] P\u00e9rier-d\u2019Ieteren, \u201cL\u2019Annonciation du Louvre et la Vierge de Houston: sont-elles les oeuvres autographes de Rogier van der Weyden?\u201d Annales d\u2019histoire de l\u2019art et d\u2019arch\u00e9ologie de l\u2019Universit\u00e9 Libre de Bruxelles 4 (1982), pp. 19, 22, 24. \n\nGuy Bauman, \u201cEarly Flemish Portraits,\u201d Metropolitan Museum of Art Bulletin 43, (1986), p. 50, fig. 37. \n\nW. Rombauts, Het oud archief van de kerkfabriek van Sint Jacob te Brugge (XIIIde\u2013XIXde eeuw), Brussels, 1986, pp. 13, 21. \n\nLarry Silver, \u201cThe \u2018Gothic\u2019 Gossaert: Na tive and Traditional Elements in a Mabuse Madonna,\u201d Pantheon 45 (1987), p. 61, fig. 10. \n\nAlarich Rooch, Stifterbilder in Flandern und Brabant: Stadtb\u00fcrgerliche Selbstdarstellung in der sakralen Malerei des 15. Jahrhunderts, Essen, 1988, pp. 210\u201311, 330\u201331, fig. 25. \n\nMicheline Comblen-Sonkes, Les Mus\u00e9es de l\u2019Institut de France, Corpus de la peinture des anciens Pays-Bas m\u00e9ridionaux au quinzi\u00e8me si\u00e8cle 15, Brussels, 1988, p. 62. \n\nJeltje Dijkstra, \u201cOrigineel en kopie: Een onderzoek naar de navolging van de Meester van Fl\u00e9malle en Rogier van der Weyden,\u201d Ph.D. diss., University of Amsterdam, 1990, p. 54. \n\nAngelica D\u00fclberg, Privatportr\u00e4ts: Geschichte und Ikonologie einer Gattung im 15. und 16. Jahrhundert, Berlin, 1990, pp. 67\u201369, 132, 223, figs. 102\u2013 03. \n\nCraig Harbison, Jan van Eyck: The Play of Realism, London, 1991, p. 119, fig. 77. \n\nMaximiliaan P. J. Martens, \u201cArtistic Patronage in Bruges Institutions, ca. 1440\u20131482,\u201d Ph.D. diss., University of California, Santa Barbara, 1992, p. 287. \n\nGuy Bauman and Walter A. Liedtke, Flemish Paintings in America: A Survey of Early Netherlandish and Flemish Paintings in the Public Collections of North America, Antwerp, 1992 , p. 374, no. 493 (ill.). \n\nHermann Kamp, Memoria und Selbstdarstellung: Die Stiftungen des burgundischen Kanzlers Rolin, Sigmaringen, 1993, pp. 153, 257\u201358. \n\nDirk de Vos, Hans Memling, exh. cat., Bruges, Groeningemuseum, 1994, p. 17.\n\nDirk de Vos, Hans Memling: The Complete Works, Antwerp and Ghent, 1994, p. 366.\n\nMaximiliaan P. J. Martens, \u201cLa Client\u00e8le du peintre,\u201d in Les Primitifs Flamands et leur temps, ed. Brigitte de Patoul and Roger van Schoute, Louvain-la-Neuve, 1994, pp. 152\u201353 (ill.). \n\nJellie Dijkstra, \u201cRogier van der Weyden,\u201d in Les Primitifs Flamands et leur temps, ed. Brigitte de Patoul and Roger van Schoute, Louvain-la-Neuve, 1994, p. 357. \n\nFran\u00e7oise Debaisieux, Caen, Mus\u00e9e des Beaux-Arts: Peintures des \u00e9coles \u00e9trang\u00e8res, Paris, 1994, pl. 331. \n\nBernhard Ridderbos, in \u201cOm iets te weten van de oude meesters\u201d: De Vlaamse primitieven; Herontdekking, waardering en onderzoek, ed. Bernhard Ridderbos and Henk van Veen, Nijmegen, 1995, fig. 25. \n\nJunko Ninagawa, \u201cThe Half-Length Devotional Portrait Diptychs by Rogier van der Weyden,\u201d Aesthetics (Japanese Society for Aesthetics) 7 (1996), pp. 84, 87\u201389, fig. 6. \n\nCyriel Stroo and Pascale Syfer-d\u2019Olne, The Flemish Primitives: Catalogue of Early Netherlandish Painting in the Royal Museums of Fine Arts of Belgium, vol. 1, Brussels, 1996, p. 129. \n\nLorne Campbell, \u201cRoger van der Weyden,\u201d in Dictionary of Art, vol. 23, 1996, p. 123. \n\nBodo Brinkmann, Die fl\u00e4mische Buchmalerei am Ende des Burgunderreichs: Der Meister der Dresdener Gebetbuches und die Miniaturisten seiner Zeit, Turnhout, 1997, pp. 73\u201374, fig. 19. \n\nCatherine A. Metzger and Michael Palmer, \u201cThe Washington Portrait of a Lady by Rogier van der Weyden Reconsidered in Light of Recent Investigations,\u201d Painting Techniques, History, Materials, and Studio Practice: Contributions to the Dublin Congress, 7\u201311 September 1998, ed. Ashok Roy and Perry Smith, London, 1998, p. 94. \n\nAlbert Ch\u00e2telet, Rogier van der Weyden, Milan, 1999, pp. 20\u201321, 70\u201371 (ill.), 139. \n\nAlbert Ch\u00e2telet, Rogier van der Weyden: Probl\u00e8mes de la vie et de l\u2019oeuvre, Strasbourg, 1999, pp. 151\u201353.\n\nDirk de Vos, Rogier van der Weyden: The Complete Works, Antwerp, 1999, pp. 111\u201312, 134, 298\u201399, 301 (ill.), 305, no. 25, figs. 156\u201357. \n\nElisabeth Dhanens and Jellie Dijkstra, Rogier de la Pasture Van der Weyden: Introduction \u00e0 l\u2019oeuvre, relecture des sources, Tournai, 1999, pp. 51, 192, fig. 42. \n\nStephan Kemperdick, Rogier van der Weyden, 1399\u20131464, Cologne, 1999, pp. 86, 105, 109, fig. 109.\n\nD[aniel] H[ess] in Spiegel der Seligkeit. Privates Bild und Fr\u00f6mmigkeit im Sp\u00e4tmittelalter, exhib. cat. Germanisches Nationalmuseum, Nuremberg, 2000, p. 248, under no. 74. \n\nSerge Le Bailly de Tilleghem, \u201cQuelques Jalons pour l\u2019histoire de la Madone Renders,\u201d in Postprints of the colloquium Le Dessin sous-jacent dans la peinture XIII, Louvain-la-Neuve, 2001, p. 4, fig. 2. \n\nH\u00e9l\u00e8ne Verougstraete and Roger van Schoute, \u201cLa Madone Renders et sa restauration\npar Joseph van der Venken (Anvers 1872\u2013Etterbeek 1964),\u201d in Postprints of the colloquium Le Dessin sous-jacent dans la peinture XIII, Louvain-la-Neuve, 2001, pp. 7, 10\u201311, 14\u201315, fig. 5. \n\nSusan Urbach, \u201cAn Unknown Portrait after Rogier van der Weyden,\u201d in Als Ich Can:\nLiber amicorum in memory of Professor Dr. Maurits Smeyers, ed. Bert Cardon et al., Paris, Leuven, and Dudley, Mass., 2002, fig. 3 (stripped state). \n\nDominique Vanwijnsberghe, \u201cL\u2019Identification du portrait \u2018Froimont\u2019 de Rogier van der Weyden: Perspectives nouvelles sur les liens du peintre avec le milieu hainuyer,\u201d Revue de l\u2019art, no. 139 (2003), p. 29. \n\nTill-Holger Borchert, \"Collecting Early Netherlandish Paintings in Europe and the United States\" in Early Netherlandish Paintings: Rediscovery, Reception, and Research, ed. Bernhard Ridderbos, Anne van Buren and Henk van Veen (Amsterdam, 2005), p. 212.\n\nAndrea Pearson, Envisioning Gender in Burgundian Devotional Art, 1350\u20131530: Experience, Authority, Resistance, Aldershot and Burlington, Vt., 2005, pp. 20, 85, 125,\n196, no. 6, fig. 28. \n\nRobert Suckale, \u201cRogier van der Weydens Werkstatt: Zwei Fallbeispiele,\u201d in Tributes in Honor of James H. Marrow: Studies in Painting and Manuscript Illumination of the\nLate Middle Ages and Northern Renaissance, ed. Jeffrey F. Hamburger and Anne S. Korteweg, London and Turnhout, 2006, pp. 489\u201393, fig. 2. \n\nMaximiliaan P. J. Martens, \u201cSome Reflections on the Social Function of Diptychs,\u201d in Essays in Context: Unfolding the Netherlandish Diptych, ed. John Hand and Ron Spronk, Cambridge, Mass., New Haven, and London, 2006, pp. 85\u201388, fig. 1.\n\nStephan Kemperdick, \"The Fl\u00e9malle - Campin -Van der Weyden Problem: Still Existing\" in Campin in Context: Peinture et soci\u00e9t\u00e9 dans la vall\u00e9e de l'Escaut \u00e0 l'\u00e9poque de Robert Campin 1375-1445, ed. Ludovic Nys and Dominique Vanwijnsberghe (Valenciennes, Brussels, and Tournai, 2007), p. 12.\n\nMartha Wolff in Martha Wolff et al., Northern European and Spanish Paintings before 1600 in the Art Institute of Chicago, Chicago, 2008, pp. 302-10, ill.\n\nCathy Metzger and Griet Steyaert, \"Painting, a Distinct Profession\" in Rogier van der Weyden 1400-1464: Master of Passions, exhib. cat., M, Leuven, 2009, pp. 162-5, 167, 177, n. 8.\n\nHanno Wijsman, Luxury Bound. Illustrated Manuscript Production and Noble and Princely Book Ownership in the Burgundian Netherlands (1400-1550), Turnhout, 2010, pp. 490, 498.\n\nJames Rondeau, ed., Paintings at the Art Institute of Chicago: Highlights of the collection (New Haven and London: Yale University Press, 2025), 23 (ill.).","exhibition_history":"Bruges, Grande Salle des Halles, Tableaux de l\u2019ancienne \u00e9cole n\u00e9erlandaise, 1867, no. 19. \n\nArt Institute of Chicago, A Century of Progress, 1933, no. 55.\n\nArt Institute of Chicago, A Century of Progress, 1934, no. 128. \n\nBrussels, Mus\u00e9e Communal de Bruxelles, Maison du Roi, Rogier van der Weyden\u2014Rogier de le\nPasture, 1979, no. 16. \n\nWashington, D.C., National Gallery of Art, Prayers and Portraits: Unfolding the Netherlandish Diptych, November 16, 2006\u2013February 4, 2007, cat. 37; Antwerp, Koninklijk Museum voor Schone Kunsten, March 3\u2013May 27, 2007.\n\nThe Art Institute of Chicago, New Light on Old Masters: Research on Northern European and Spanish Paintings before 1600 in the Art Institute, 26 June\u201414 September 2008, no cat. \n\nLeuven, Municipal Museum, Rogier van der Weyden 1400-1464: Master of Passions, September 20- December 6, 2009.","provenance_text":"Dr. Isaac Joseph de Meyer (d. 1861), Bruges, by 1859 [Weale 1859]; his son, Dr. August de Meyer, Bruges. Sold to Rodolphe Kann (d. 1905), Paris, by 1899 [according to Friedl\u00e4nder 1899]; his heirs; sold to Duveen, Paris and New York, 1907 [information supplied by Guy Bauman]; sold to Dowdeswell and Dowdeswell, London, Feb. 1912 [Kleinberger stock card, Department of European Painting, Metropolitan Museum of Art, New York]; sold to Kleinberger, Paris and New York, Mar. 1, 1912 [Kleinberger stock card cited above]; sold to Benjamin Altman, New York, July 3, 1912; bought back by Kleinberger, Nov. 16, 1912 [Kleinberger stock card]; sold to Martin A. Ryerson (d. 1932), Chicago, June 20, 1913 [bill of sale, Art Institute Archives]; on loan to the Art Institute from 1913; bequeathed to the Art Institute, 1933.","edition":null,"publishing_verification_level":"Web Cataloged","internal_department_id":14,"fiscal_year":1933,"fiscal_year_deaccession":null,"is_public_domain":true,"is_zoomable":true,"max_zoom_window_size":-1,"copyright_notice":null,"has_multimedia_resources":false,"has_educational_resources":false,"has_advanced_imaging":false,"colorfulness":29.5555,"color":{"h":42,"l":94,"s":61,"percentage":0.0017474933749442349,"population":17},"latitude":null,"longitude":null,"latlon":null,"is_on_view":true,"on_loan_display":null,"gallery_title":"Gallery 202","gallery_id":2147483640,"nomisma_id":null,"artwork_type_title":"Painting","artwork_type_id":1,"department_title":"Painting and Sculpture of Europe","department_id":"PC-10","artist_id":28375,"artist_title":"Rogier van der Weyden","alt_artist_ids":[],"artist_ids":[28375],"artist_titles":["Rogier van der Weyden"],"category_ids":["PC-10"],"category_titles":["Painting and Sculpture of Europe"],"term_titles":["oil on panel","portraits: male subject","oil painting","oil paint (paint)","Renaissance","15th century","panel painting","painting techniques","painting","wood (plant material)","plant material","painting","paint","organic material","paint","oil paintings (visual works)","portrait","prayer","jewelry","man","coat of arms","tower","shields","tassels","blue","blue (color)","gold (color)","painting","european painting","painting (image making)","panel (wood)","portraits","Century of Progress","world's fairs","Chicago World's Fairs"],"style_id":"TM-5891","style_title":"Renaissance","alt_style_ids":["TM-14074"],"style_ids":["TM-5891","TM-14074"],"style_titles":["Renaissance","15th century"],"classification_id":"TM-80","classification_title":"oil on panel","alt_classification_ids":["TM-10387","TM-78","TM-9","TM-54"],"classification_ids":["TM-80","TM-10387","TM-78","TM-9","TM-54"],"classification_titles":["oil on panel","paint","oil paintings (visual works)","painting","european painting"],"subject_id":"TM-8581","alt_subject_ids":["TM-14105","TM-14073","TM-12623","TM-14974","TM-10481","TM-14924","TM-12004","TM-11210","TM-15162","TM-11843","TM-11859","TM-8658","TM-12169","TM-11299","TM-12176"],"subject_ids":["TM-8581","TM-14105","TM-14073","TM-12623","TM-14974","TM-10481","TM-14924","TM-12004","TM-11210","TM-15162","TM-11843","TM-11859","TM-8658","TM-12169","TM-11299","TM-12176"],"subject_titles":["portraits: male subject","portrait","prayer","jewelry","man","coat of arms","tower","shields","tassels","blue","blue (color)","gold (color)","portraits","Century of Progress","world's fairs","Chicago World's Fairs"],"material_id":"TM-2451","alt_material_ids":["TM-2431","TM-3478","TM-13502","TM-2577","TM-2601","TM-3644"],"material_ids":["TM-2451","TM-2431","TM-3478","TM-13502","TM-2577","TM-2601","TM-3644"],"material_titles":["oil paint (paint)","wood (plant material)","plant material","painting","paint","organic material","panel (wood)"],"technique_id":"TM-4273","alt_technique_ids":["TM-3975","TM-3971","TM-14210","TM-3891"],"technique_ids":["TM-4273","TM-3975","TM-3971","TM-14210","TM-3891"],"technique_titles":["oil painting","panel painting","painting techniques","painting","painting (image making)"],"theme_titles":[],"image_id":"108f44fc-d93b-abf0-c33c-2920d57844c3","alt_image_ids":["9b6afa5f-8ded-282f-06b9-6714bcea0aad"],"document_ids":[],"sound_ids":[],"video_ids":[],"text_ids":[],"section_ids":[],"section_titles":[],"site_ids":[],"suggest_autocomplete_boosted":"Portrait of Jean Gros (recto); Coat of Arms of Jean Gros (verso)","suggest_autocomplete_all":[{"input":["1933.1051"],"contexts":{"groupings":["accession"]}},{"input":["Portrait of Jean Gros (recto); Coat of Arms of Jean Gros (verso)"],"weight":6387,"contexts":{"groupings":["title"]}}],"source_updated_at":"2026-02-18T09:10:19-06:00","updated_at":"2026-08-06T12:09:15-05:00","timestamp":"2026-09-06T05:52:15-05:00"},"info":{"license_text":"The `description` field in this response is licensed under a Creative Commons Attribution 4.0 Generic License (CC-By) and the Terms and Conditions of artic.edu. 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