Goat Yale University Art Gallery

ca. 1657

Although the artists most often associated with the Flemish Golden Age are Peter Paul Rubens and Anthony van Dyck, Jacob Jordaens was actually the most sought-after history painter in Antwerp, Belgium, in the mid-seventeenth century. Jordaens’s choice of a rear view for this life study of a goat both reveals his sense of humor and proclaims his skill in rendering perspective and anatomy. Detailed observation and rich coloring lend a sense of completion to a drawing that functioned primarily as a study for later commissioned works. Jordaens introduced a similar goat in his 1657 painting The Adoration of the Shepherds (North Carolina Museum of Art, Raleigh).

Medium: Red, black, and yellow chalk, with touches of red and brown wash heightened with white
Dimensions: 10 × 7 13/16 in. (25.4 × 19.9 cm)
framed: 19 3/4 × 15 1/4 × 1 1/2 in. (50.17 × 38.74 × 3.81 cm)
Credit Line: Everett V. Meeks, B.A. 1901, Fund
Accession Number: 1963.9.39
Geography: Made in Flanders
Culture: Flemish
Period: 17th century
Classification: Drawings
Disclaimer: Note: This electronic record was created from historic documentation that does not necessarily reflect the Yale University Art Gallery’s complete or current knowledge about the object. Review and updating of records is ongoing.

Provenance

Henri Baderou, Paris, 1963; Yale University Art Gallery, New Haven, Conn.
This work appears on our "Artworks with Nazi-Era Provenance Documentation Gaps" page.

Bibliography

Jordi Camps i Sòria et al., Bilboko Arte Ederren Museoa Bulletin (Bilbao, Spain: Bilboko Arte Ederren Museoa, 2012), 168, fig. 14

Dennis P. Weller, Seventeenth-Century Dutch and Flemish Paintings (Raleigh, N.C.: North Carolina Museum of Art, 2009), 273, fig. 57A

Lisa Hodermarsky, Suzanne Boorsch, and John J. Marciari, Master Drawings from the Yale University Art Gallery, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 2006), 24, 162–63, no. 52, ill.

Object copyright

No Copyright - United States

Technical metadata and APIs

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