A Superb Sixteenth-Century Portrait of Famed Geographer Abraham Ortelius: The Only Portrait Painted During His Lifetime
Adriaen Thomaszoon Key (ca. 1544-after 1589): Portrait of
Abraham Ortelius
Oil on panel: 17 1/8" by 14"; 22" x 18
¾" framed. Inscribed center right: CONTEMNO/ ET/ ORNO
$475,000
This
superb portrait by the Flemish painter Adriaen Thomaszoon Key represents
Abraham Ortelius (1527-1598), a luminary figure in the intellectual history of
the Renaissance. Born Abraham Ortels in the Flemish capital of Antwerp in
present-day Belgium, Ortelius (who Latinized his name in his 20s, as was then
fashionable among the educated elite) eventually became one of the most
celebrated geographers of all time -- equal parts innovator, entrepreneur,
cartographer, and classical scholar. His foremost accomplishment was the
production of the first world atlas in the modern sense of the word, the
Theatrum Orbis Terrarum, which was first published in Antwerp in 1570. Although
he created some maps personally, Ortelius was known more as a publisher than a
cartographer. For the Theatrum he compiled the best existing maps, had them
re-engraved by talented printmakers in his employ such that all conformed to a
standard format and style, appended scholarly text to their versos, and then
published them as a uniform edition. The result was an atlas that was truly
without precedent.
Previously,
collections of maps had been assembled into book form, but these were
invariably volumes made to order according to the desires and needs of an
individual client, and no two were alike. In contrast to Ortelius's atlas, few
of these books included explanatory text, and they contained a motley
assortment of maps by different makers that showed little or no uniformity. In
the Theatrum, Ortelius also took the step -- quite rare in the sixteenth
century, when plagiarism was rampant -- of crediting the original authors of
the maps included. In its lavish production values, geographic sophistication,
and high aesthetic appeal, Ortelius's atlas was a decisive step forward in the
history of cartography and the dissemination of geographical knowledge. The
atlas was wildly successful throughout Western Europe, becoming one of the
first "best-sellers" in the history of the printed book. Between the
Theatrum's first appearance in 1570 and its final edition in 1612, it was
printed in thirty-one editions and seven different languages -- a remarkable
figure for the time.
This
portrait of Ortelius by Adriaen Thomaszoon Key is the only known representation
of the famous geographer done during his lifetime. Previously attributed to the
painter Anthonis Mor (also known as Antonio Moro), the painting was first
recognized as Key's work by Burton B. Fredericksen in his 1965 catalogue of the
J. Paul Getty Collection (see references, below). Ortelius almost certainly sat
for the artist so Key could make first-hand studies "from life" that
he could then work up into this final composition. Key shows Ortelius in the
flawless naturalistic style for which Northern European artists were
celebrated. Every hair in the geographer's beard and rich fur cape emerges with
distinct clarity. Ortelius is depicted in bust-length, his face -- in
near-profile -- emerging brightly above a neat white ruff from the dark, simple
background. He stares intently to the right, resting his hand gently on a
terrestrial globe, where the Mediterranean can just be made out. Ortelius's
intense gaze, his prominent, furrowed brow, his sober expression and dignified
bearing all contribute to an impression of surpassing intelligence. The illumination
of his face against the relative obscurity of the background was probably a
calculated allusion to the geographer's learning (literal enlightenment) and to
his greatest accomplishment, that of having spread knowledge of geography to a
broader European public. The inscription at center right, "contemno et
orno," which in full would read "contemno et orno mente manu,"
almost certainly alludes to Ortelius's triumph in having produced the first
atlas. Although its meaning is debated, the inscription was probably meant to
translate as "I divide and order with mind and hand," which is
precisely the task of the geographer -- to divide and order the world and its
parts through the intellect, and then transcribe that knowledge onto paper. The
placement of Ortelius's above the globe is likewise highly symbolic, in this
case alluding to his firm grasp on (and power over) geography.
Key,
like Ortelius, was a native of Antwerp, and became one of the leading
portraitists in that city. He received his artistic training from Willem Key,
who is thought to have been a distant relative. Key became a master in
Antwerp’s Guild of St. Luke (the painters' guild) in 1568, and dated paintings
by him, mostly portraits, are known from 1572 onwards. One of his most noted
works, a portrait of William of Orange, is housed in the Rijksmuseum in
Amsterdam. After the seizure of Antwerp by Alessandro Farnese, Duke of Parma,
in 1585, Key was registered as a Calvinist, but he nevertheless remained in
Catholic-dominated Antwerp. He had pupils listed in the Guild records for 1582
and 1588, and in 1589 he was still paying his annual guild dues. After that,
however, his name disappeared from the Antwerp records, either because he left
the city or because he died. Key is known for the altarpieces he produced for
Antwerp churches, including the high altar of the Franciscan church, although
most of these have disappeared. He is most celebrated, however, for his
portraits, which are remarkable for their powers of objective observation.
Key's remarkable
portrait of Ortelius can be dated to before 1579, at which point it was used by
the artist Philips Galle as a model for the engraved portrait that was
henceforth included as the frontispiece for every edition of the Theatrum Orbis
Terrarum (see fig. 1). For that engraving, Galle used an oval, rather than a
rectangular, format, which meant that the globe no longer appeared within the
composition. Moreover, the printing of an engraved plate always results in a
mirror image, hence Galle's version was reversed from Key's original. In the
following century, the great Flemish artist Pieter Paul Rubens, another denizen
of Antwerp, was commissioned by the scholar Balthasar Moretus to paint a copy
of this work (fig. 2; now in the collection of the Plantin-Moretus Museum in
Antwerp). Rubens's superb portrait seems to have been based on both the
engraving and Key's original work; the image is still reversed, but the globe
has made a reappearance.
This
portrait is an exceptionally important, vivid, and suggestive portrayal of
Abraham Ortelius, a critical figure in the intellectual life of Renaissance
Europe and in the history of cartography.
Provenance:
I. Riesner Collection, Brussels; His sale, Brussels, Galerie
Fievez, November 19, 1927, lot 65 (as Antonio Moro, Portrait d'un géographe);
Anton W.M. Mensing Collection, Amsterdam, died 1936 and then held in trust by
the estate until sold, Amsterdam, Frederick Muller & Cie., November 15,
1938, lot 68 (as Antonio Moro, Portrait of Abraham Ortelius), where acquired by
J. Paul Getty; J. Paul Getty Collection, California, until 1954 when donated to
the J. Paul Getty Museum, Malibu, California; deaccessioned 2007.
References:
H. Hymans, Antonio Moro, son oeuvre et son temps (Brussels,
1910), 156 (as Antonio Moro); B.B. Fredericksen, Handbook of Paintings in the
J. Paul Getty Museum (Malibu, 1965), 11 (as Antwerp painter, c. 1575-80
[possibly Adriaen Thomas Key]); B.B. Fredericksen, Handbook of Paintings in the
J. Paul Getty Museum (Malibu, 1972), 64, n. 79 (as Attributed to Adriaen Thomas
Key); D. Jaffé, Summary Catalogue of European Paintings in the J. Paul Getty
Museum (Los Angeles, 1997), 66, reproduced (as Attributed to Adriaen Thomas
Key); P. Binding, Imagined Corners: Exploring the World's First Atlas (London,
2003), 42 (as Attributed to Adriaen Thomas Key).
Condition:
Panel is cradled and stable. Overall image is strong and
appealing. U.V. reveals scattered retouches in the face, and in the background
above Ortelius’s fingers and around his head. Reinforcement around the edge of
his ear. The fur area of costume flouresces but does not appear to have had any
retouching. In a carved gilt wood frame with nicks and abrasions throughout.
Disclaimer: This condition report is given as an expression of our opinion and
is not legally binding.
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