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van Vilet

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Personality and Class Carrie Robbins
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1. After Paul Delaroche (French, 1797-1856), Napoleon Bonaparte (1870-75), after painting of 1838. Engraving; Gift of Abby A. K. Turner Van Pelt Grimscom, Class of 1952, Katherine Drexel Van Pelt Beaver, and Charles B. P. Van Pelt; VP.786. Dressed in military costume and with a sword at his hip, Napoleon poses confidently in the comfort of his study. Napoleon was known for his choleric nature, yet like Suyderhoef’s peasant above right, he also rests his right hand inside the opening of his jacket. This detail may appear odd, but it can be explained by the subject's social class. In depictions of peasants, this phlegmatic gesture was used to signify laziness. However, in depictions of the ruling class, the same gesture adopts the positive associations of temperance, leisure, and calm. Used in a depiction of Napoleon, the gesture may also be an ironic allusion to the subject's relatively low birth.
2. Worlidge_van Vilet
3. François Vivarès (French, 1709-1780), after Rembrandt Harmensz. van Rijn (Dutch, 1606-1669); Beggar Seated Warming His Hands at a Chafing Dish (1850-1900). Etched in reverse, copy no. 5 after etching of c. 1630, signed in plate, X.814
4. Jan Georg van Vilet (Dutch c. 1610-1668), Pedlar (18th- or 19th- century restrike?). Etching on woven paper, state v/v, signed in plate, X.899
5. Thomas Worlidge (English, 1700-1766), after Rembrandt Harmensz. van Rijn (Dutch, 1606-1669); Beggar Seated on a Bank (18th- century). Etched copy in reverse, copy no. 14 after etching of 1630, signed in plate, X.811
6. Jan George van Vilet (Dutch, c. 1610-1668), Beggar with Two Crutches (18th- or 19th- century restrike?). Etching on wove paper, state iv/iv, signed in plate, X.901
7. Delaroche
8. van Vilet
9. Vivarès