(Harlingen 1608–1651 Amsterdam)
Portrait of a lady
monogrammed at lower right: JAB
oil on canvas, 77 x 61 cm, framed

Provenance:
with Ward Gallery, London; with Scott & Fowles Gallery, New York;
sale, American Art Association, 19 November 1926, lot 60

Literature:
K. Bauch, Jacob Adriaensz. Backer, Berlin, 1925, p. 97, cat. no. 202

Jacob Adriaensz. Backer was a student of Rembrandt, whose influence reveals itself first and foremost in the artist’s numerous portraits. Backer’s art is characterised by a naturalistic approach, broad brushwork, and somewhat sketchy outlines, combined with an increasingly fluid manner of painting. Compared to Rembrandt, his palette is brighter, which holds primarily true for the flesh tones and the background.

Saleroom notice:

Exhibited:
Aachen, Suermondt-Ludwig-Museum, Der große Virtuose – Jacob Adriaensz. Backer (1608-1651), 2009 (as Jacob Adriaensz. Backer)

Additional Literature:
E. Kok, Culturele Ondernemers in de Golden Eeuw, De artistieke en sociaal-economische strategien von Jacob Backer, Govert Flinck, Ferdinand Bol en Joachim von Sandrart (Phil. Diss.), Amsterdam 2013, p. 193, note 543;
Der große Virtuose – Jacob Adriaensz. Backer (1608-1651), ed. by Peter van den Brink, exhibition catalogue, Aachen, 2008, no. A126, illustrated (as Jacob Adriaensz. Backer)

Provenance:
with Ward Gallery, London; with Scott & Fowles Gallery, New York;
sale, American Art Association, 19 November 1926, lot 60

Literature:
K. Bauch, Jacob Adriaensz. Backer, Berlin, 1925, p. 97, cat. no. 202

Jacob Adriaensz. Backer was a student of Rembrandt, whose influence reveals itself first and foremost in the artist’s numerous portraits. Backer’s art is characterised by a naturalistic approach, broad brushwork, and somewhat sketchy outlines, combined with an increasingly fluid manner of painting. Compared to Rembrandt, his palette is brighter, which holds primarily true for the flesh tones and the background.