Possibly by Michiel Nouts, A Family Group
| Full title | A Family Group |
|---|---|
| Artist | Possibly by Michiel Nouts |
| Artist dates | baptised 1628-1693 |
| Date made | about 1655 |
| Medium and support | Oil on canvas |
| Dimensions | 178 × 235 cm |
| Acquisition credit | The left half presented by Charles Fairfax Murray, 1900; the right half bought, 1910 |
| Inventory number | NG1699 |
| Location | Not on display |
| Collection | Main Collection |
| Previous owners |
This very large painting was cut in half sometime before 1900. In 1915, the halves were rejoined in the National Gallery and some missing portions replaced.
The way the family is grouped, with clear division between male and female, is significant. Father and son are together. They turn towards each other and a gesture from the father suggests that, one day, his son will inherit his role as the head of the family. The mother and three daughters are dutifully supportive, the mother still nurturing the two youngsters. The eldest girl, with the two bright red cherries, leans away, slightly apart. She is learning to become independent, ready one day to marry out of the family.
The costumes suggest a date in the 1650s. The artist was possibly familiar with painting in Delft. A stylistic resemblance between this picture and a portrait by Michiel Nouts (Rijksmuseum, Amsterdam) – his only known signed work – suggests it may be by him.
This very large painting was cut in half sometime before 1900. In 1915, the halves were rejoined in the National Gallery and some missing portions replaced.
The way the family is grouped, with clear division between male and female, is significant. Father and son are together, one writing in a book, the other reading and learning. They turn towards each other; a gesture from the father suggests that, one day, his son will inherit his role as the head of the family. The mother and three daughters are dutifully supportive, the mother still nurturing the two youngsters. The eldest girl, with the two bright red cherries, leans away, slightly apart. She is learning to become independent, ready one day to marry out of the family.
The costumes suggest a date in the 1650s. The artist was possibly familiar with painting in Delft. A stylistic resemblance between this and a portrait by Michiel Nouts (Rijksmuseum, Amsterdam) – his only known signed work – suggests it may be by him.
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