Geertgen tot Sint Jans

Throughout the past 550 years much information about Geertgen has been lost. In 1604, more than a century after his death, the artists’ biographer Karel van Mander wrote a short sketch of his work and life. This is the most important surviving source about Geertgen.

Geertgen was probably born in Leiden and died in Haarlem. From 1480, he lived with the Sint Jansheren (Knights of St John of Jerusalem) in their Commandery in Haarlem, hence the addition ‘tot Sint Jans’ to his name. While not actually a member of this monastic order, Geertgen possibly worked as a lay brother for the monks. He painted a large altarpiece for their church, among other things. A 17th-century drawing features his portrait according to its inscription.

His works evidence superb quality, are highly refined, and include many beautiful details.

Geertgen is known for his charming doll-like female figures with smooth, oval faces and slender fingers.

The question of which pictures Geertgen painted himself and which were done by his workshop assistants or early followers is complex and has been widely discussed and written about. Three paintings in the Rijksmuseum collection are closely linked to the master.

The three magi also represent the three generations and the three continents known in the late Middle Ages: Europe, Asia and Africa. They pay homage to the newborn Jesus. The oldest magus offers him incense and not, as was long claimed, gold coins.

Gathered in this imaginary, medieval church is Christ’s closest family, the Holy Kinship. At the left, Jesus sits on his mother Mary’s lap, surrounded by aunts, uncles and cousins. The most important roles in the painting, however, are reserved for Jesus’ grandmother Anne and Mary’s cousin Elizabeth with her son John the Baptist in the left and right foreground, respectively.

Christ’s symbolic family tree is depicted here. The densely populated tree grows out of the body of the sleeping Jesse, forefather of a lineage of kings to which, according to tradition, Jesus also belonged. The branches are filled with the kings of Judah. All the way at the top, the Virgin is enthroned with the Christ Child on her lap.

Before the Tree of Jesse was restored in 1930, the wall at the lower left ended with a fence. This overpainted section was removed during the restoration, revealing a kneeling nun. Her white habit suggests that she belonged to the Haarlem Wittevrouwenklooster (White Ladies Convent).

Karel van Mander wrote that Geertgen died young, around the age of 28. Quite uniquely for 15th-century Dutch painters, Geertgen enjoyed some posthumous fame. For example, paintings attributed to him are mentioned regularly in 17th-century Dutch inventories. Around 1800, however, the Holy Kinship was considered to be the work of Hubert and Jan van Eyck.