Cornelis van der Geest

Cornelis van der Geest (1575 – 10 March 1638) was a spice merchant from Antwerp, who used his wealth to support the Antwerp artists and to establish his art collection. He was also the dean of the haberdashers guild.[1]

Portrait of Cornelis van der Geest by Anthony van Dyck, before 1620, now in the National Gallery

Art collection

He is best known today for his art collection.[2] He was portrayed repeatedly by Anthony van Dyck, while Willem van Haecht, who he had hired as curator, painted his "constcammer" several times, including a view of the visit of Albert VII, Archduke of Austria and Isabella Clara Eugenia to his art collection.

He owned two paintings by Quentin Matsys, one of which, a Madonna, can be seen in the Van Haecht painting. Other works included in that view are Women at her toilet by Jan van Eyck, a still life by Frans Snyders, Ceres Mocked by Adam Elsheimer, Danaë by Van Haecht, Battle of the Amazons and a portrait by Peter Paul Rubens, Peasant Company with Woman making Pancakes by Pieter Aertsen, Apelles by Jan Wierix and a hunting scene by Jan Wildens. The painting also shows some of Van der Geest's sculptures, with copies of the Venus de' Medici, the Farnese Hercules, and the Apollo Belvedere.[3]

Paintings by Willem van Haecht of his art gallery:

  • (1) Collection of Cornelis van der Geest with Joseph and Potiphar's wife, c. 1630
  • (2) Alexander the Great visits the studio of Apelles, c. 1630
  • (3) Apelles painting Campaspe, c. 1630
  • (4) Paracelsus in the Gallery of Cornelis van der Geest, 1620-1637
  • (5) Albert and Isabella visiting the Gallery of Cornelis van der Geest, 1628
  • (5) Left side detail: portraits of Isabella and Archduke Albert, Rubens, Prince Władysław Vasa of Poland (who visited van der Geest's Gallery in 1624, with black hat) and the host showing the Matsys Madonna

Paintings hanging in his art gallery followed by the numbers of the five gallery paintings above:

Maecenas
1620 skull plaque financed by Van der Geest for Quentin Metsys

Van der Geest also functioned as a maecenas. He arranged for Rubens to get the order for a triptych for the Saint Walpurga church in Antwerp, which resulted in the Elevation of the Cross, now in the Cathedral of Antwerp.[4] Similarly, the order for the 1630-1632 Triptych of Saint Ildephonsus, intended for the Saint James church, but now in the Kunsthistorisches Museum in Vienna, was given to Rubens through the influence of Van der Geest.[1] Van der Geest also financed a new memorial for Quentin Metsys against the tower of the Antwerp Cathedral.[5]

gollark: What if I want to do tax evasion instead?
gollark: You mean paid-for-by-other-people education, yes.
gollark: It's been argued that it works as a signal to employers that you are at least vaguely competent enough to do something for 4ish years, able to stick to it for that time, and have some basic level of intelligence, more than providing much educational value.
gollark: They would have to test expected job performance some other way.
gollark: One idea someone had was to just disallow employers from asking if you have a college degree.

See also

Notes
  1. Giorgi, Rosa (2008). European art of the seventeenth century. Getty Publications. p. 383. ISBN 978-0-89236-934-8.
  2. "Kamers vol kunst in 17de eeuws Antwerpen". Rubenshuis. Archived from the original on 22 December 2015. Retrieved 17 December 2015.
  3. Sutherland Harris, Ann (2005). Seventeenth-century art & architecture. Laurence King Publishing. p. 426. ISBN 978-1-85669-415-5.
  4. Timmermans, Bert (2008). Patronen van patronage in het zeventiende-eeuwse Antwerpen (in Dutch). Amsterdam University Press. p. 250. ISBN 978-90-5260-247-9. Retrieved 23 July 2016.
  5. Geschiedenis der Antwerpsche rederykkamers, chapter 1, Geschiedenis der violieren, by J. B. Van Der Staelen, 1834
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