The Rediscovery of the Monogrammist JAD
For centuries, the works of the Flemish painter Jacques de l'Ange remained shrouded in mystery, often attributed to other Northern Caravaggists or members of the Utrecht School. Known primarily by the monogram JAD, his artistic identity was only reclaimed in 1994 by scholar Bernhard Schnackenburg. This rediscovery occurred when a painting of the Holy Family in the Noordbrabants Museum was linked to other Caravaggesque works sharing distinct stylistic similarities.
His training began under Jan Cossiers, as he was registered as a pupil in the Antwerp Guild of Saint Luke during the 1632–1633 guild year. While his exact life remains a subject of research, he likely left Antwerp for Italy around 1642, potentially spending time in Naples. His oeuvre includes religious, mythological, and historical subjects, as well as a notable series of genre paintings depicting the Seven Deadly Sins.
Style and Artistic Technique
De l'Ange’s style is characterized by a Caravaggesque approach, frequently utilizing light from a single source to create dramatic, theater-like shadows. He often employed chiaroscuro, placing foreground figures in shadow to contrast against brighter central or background portions of a composition. His technique is marked by a bright palette—favoring tones of yellow, pink, orange, and red—and a loose, bright brushwork.
His depictions include specific aesthetic traits, such as:
- Female figures of a Classical type.
- The Virgin Mary portrayed as a blonde woman with fine features and large eyes gazing downward.
- Eyes characterized by an almond shape, slanted eyelids, and underlined upper eyelashes.
- Children and cherubs depicted as chubby boys with big heads, thick blonde curls, bulging eyes, and rounded noses.
The artist frequently showed an interest in rendering turbans and metal objects. To facilitate transport and ease of preparation, he often utilized copper plates as a support for his works.
