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{{Use dmy dates|date=July 2020}}(File:Elisabeth of Austria Queen of France by Jooris van der Straaten - 1570s .jpg|thumb|right|240px|Elisabeth of Austria, Queen of France)Jooris van der Straeten, known as Jorge de la Rúa in Spain and in France as Georges van der StraetenAlternative name spellings: as Joris van Straeten, Jooris van Straeten, Georges van Straeten, Georges van Gent, Georgius van Gent, Jooris van Gent, Joris van Gent, Georges van Gent, Georgius van Gent, Jooris van Gent, Joris van Gent (fl. 1552–1577), was a Flemish portrait and history painter. Originally from Ghent, he travelled abroad and became portrait painter to the ruling houses in Portugal, Spain and France.Joris van Straeten at the Netherlands Institute for Art History {{in lang|nl}} A polyglot, van der Straeten was a versatile courtier, who worked primarily as a portraitist for queens.Annemarie Jordan, Jooris van der Straeten: Habsburg Court Portraitist in Portugal, Spain, and France, paper presented on 24 March 2007

Life

Jooris van der Straeten was originally from Ghent, which explains his alias of Joris van Gent (Joris of Ghent). It is believed he was a pupil of the prominent history and portrait painter Frans Floris in Antwerp.Abraham de Rijcke in: Karel van Mander, Schilder-boeck, 1604, {{in lang|nl}} It is possible that he also trained under the prominent portrait painter Antonis Mor and travelled with him to the Iberian peninsula. He likely accompanied the future Spanish King Philip II when the travelled to England to marry the English Queen Mary I of England in 1554 as evidenced by the portrait he made of the future king with the order of the Garter.Colección Abelló, Centro Centro Cibeles de Cultura y Ciudadanía, 2014 {{in lang|es}} There are also bust and rondella versions of this work. After leaving England he worked in Portugal. Catherine of Austria, Queen of Portugal paid him in 1556 for a portrait of her grandson, the future King Sebastian of Portugal at the age of two.Julia de la Torre Fazio, El retrato en miniatura español bajo los reinados de Felipe II y Felipe III, Tesis Doctoral, Universidad de Málaga, Departamento de Historia del Arte, Málaga, 2009 {{in lang|es}} (File:Jooris van der Straeten - Portrait of Philip II of Spain.jpg|thumb|240px|left|Portrait of Philip II of Spain)In 1559, he was recorded in Spain, with a commission to paint a Resurrection of Lazarus for the church of Santiago de Cáceres. He was documented from 1560 to 1568 under the name Jorge de la Rúa as painter of Elisabeth of Valois, the Spanish queen consort. He was her portrait painter together with the local painter Alonso Sánchez Coello, with whom he had also worked in Portugal. He also painted devotional works for queen Elisabeth. She paid a high sum for a painting of the Immaculate Virgin with five figures that hung over the queen's bed.Pérez de Tudela, Almudena, Retrato de Isabel Clara Eugenia y Catalina Micaela de Jorge de la Rúa, Ars Magazine, nº 29, enero-marzo 2016, pp. 66-76 {{in lang|es}}He was still at the Spanish court in January 1571, as he is documented at that time occupied with a portrait of the infantas Isabella Clara Eugenia and Catherine Michelle. The portrait had been commissioned by the Duchess of Alba. He made two copies, one of which was sent to the grandmother of the infantas, the queen of France Catherine de' Medici while the other was sent to the Duchess. The Duchess refused the work because of its high price. It is possible that this is the work preserved in the British Royal Collection that portrays the sisters with a puppy and a parrot. At the Royal Collection website this work is attributed to Alonso Sánchez Coello and workshop.Attributed to artist and workshop of Alonso Sánchez Coello (1531-88), Isabella Clara Eugenia and Catharina, Daughters of Philip II, King of Spain, c. 1569-70 at the Royal Trust(File:Jooris van der straten-don carlos-descalzas.jpg|thumb|230px|Prince Don Carlos in armor)The artist moved to France where he worked as a painter of Elisabeth of Austria, Queen of France, wife of Charles IX of France. He painted a portrait of the queen in 1573. This is the only signed and dated work by the painter and is preserved in the Convent of Las Descalzas Reales in Madrid. To Jorge de la Rúa is also attributed a (:File:Jooris van der straten-don carlos-descalzas.jpg|portrait of Prince Don Carlos in armor) in the Convent of Las Descalzas Reales. This work was previously attributed to the Portuguese painter Cristóvão de Morais.Breuer-Hermann, Stephanie, Alonso Sánchez Coello y el retrato en la corte de Felipe II, catálogo de la exposición celebrada en el Museo del Prado, June/July 1990, pp. 154-155 {{in lang|es}} The artist worked in France also for Catherine de' Medici.The artist made his testament in April 1577 while lying ill in bed in at a residence in Saint-Germain-des-Prés. He stated in his testament that he was a painter and valet de chambre (valet) of the French queen Louise of Lorraine. He further declared that he was the creditor of the queen and Nicholas Hilliard, painter to the English queen. The artist likely never married nor did he become a naturalised Frenchman.Alexandra Zvereva, Le portrait de la Renaissance française {{in lang|fr}}

Work

While Jooris van der Straeten is mainly known as a portrait painter for rulers of the Habsburg and Valois, he also created Christian devotional scenes for his royal patrons.At the time he was working for the courts on the Iberian peninsula, many other portrait painters were active as court painters for the same ruling dynasty. They included Flemish painters Antonio Moro and Roland de Mois, as well as Spanish painters Alonso Sánchez Coello and Juan Pantoja de la Cruz and Italian painter Sofonisba Anguissola.Anne J. Cruz, Juana of Austria : patron of the arts and regent of Spain, 1554-59, in: Anne J Cruz (Editor), 'The Rule of Women in Early Modern Europe', Mihoko Suzuki, 22 June 2009, pp. 103–122 As these artists were working within a same ideological framework, their depictions show many similarities. This has made attributions of unsigned works difficult and some works have been attributed to one artist and later to another one. For instance, the (:File:Jorge de la Rúa - Portrait of Don Juan of Austria.jpg|Portrait of Don Juan of Austria) is now attributed to van der Straeten but was earlier attributed to Alonso Sánchez Coello.Jorge de la Rúa (Attributed to), Portrait of Don Juan of Austria at Art UK(File:Jorge de la Rúa - Portrait of a gentleman, said to be Perari Di Cremona.jpg|thumb|230px|Portrait of a gentleman, said to be Perari Di Cremona)The coherence of portraits made by painters working at the court of Philip II can be explained by the propagandistic purpose behind their creation and use. The conception behind the portraits of the Habsburg ruling family was to project an image capable of conveying the family's leading position in the world, its interests and dynastic destiny. Achieving a likeness in the portrait of the king and his family was secondary to giving form to the concept of the Habsburg majesty. The establishment and repetition of a series of conventions repeated by each court painter forged a uniform court painting procedure.Leticia Ruiz Gómez, In the king's name : the portrait of Juana of Austria in the Bilbao Fine Arts Museum, in: Bulletin of the Bilbao Fine Arts Museum, no. 2, 2007, pp. 85-12 This so-called 'Spanish school of portrait painting' typically depicted the royal sitters at full or three-quarter length in a not overly heroic but rather personal manner. This was because portraits also had a semi-private and familial as well as genealogical role. As the royal family was spread out over Europe, the portraits could be kept to remember close family members as well as serve in the negotiation of royal marriages to give a preview of the prospective spouse's appearance.

References

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External links

• {{Commons-inline|Category:Jooris van der Straeten|Jooris van der Straeten}}

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