Who painted Portrait of Susanne de Vos, the Painter’s Third Daughter?

Portrait of Susanne de Vos, the Painter’s Third Daughter was painted by Cornelis de Vos in 1627.

Where can I see Portrait of Susanne de Vos, the Painter’s Third Daughter?

Portrait of Susanne de Vos, the Painter’s Third Daughter is held by Städel Museum.

What movement is Portrait of Susanne de Vos, the Painter’s Third Daughter?

Portrait of Susanne de Vos, the Painter’s Third Daughter is associated with Flemish Baroque painting.

Artwork

Portrait of Susanne de Vos, the Painter’s Third Daughter

Cornelis de Vos , 1627

Portrait of Susanne de Vos, the Painter’s Third Daughter is an oil painting by the Flemish Baroque painting artist Cornelis de Vos. It dates from 1627 and is held in the collection of the Städel Museum.

About this work

Overview

In 1627 Cornelis de Vos painted an oil portrait of his third daughter, Susanne, seated upon an elevated chair. Executed in the Flemish Baroque idiom, the work presents a young girl in a restrained pose against a dark backdrop, emphasizing her presence through contrast and careful modelling. The painting is part of the Städel Museum’s collection.

Subject & Meaning

The sitter is a fair‑complexioned child dressed in a white gown with subtle green‑striped sleeves, a simple headband, and a gold cross pendant. She rests her hands on a tray attached to the chair, holding a small, unidentified object. Her neutral expression and forward gaze convey a quiet dignity typical of familial portraiture in the early seventeenth century.

Technique & Style

De Vos employs chiaroscuro to separate the figure from the deep, almost black background, creating a three‑dimensional effect. The brushwork is smooth on the skin and fabrics, while the rendering of the chair’s wood and the cross’s metal gleam with precise detail. The overall composition reflects the painter’s skill in balancing intimacy with formal presentation.

History & Provenance

Cornelis de Vos, a noted Antwerp painter, draughtsman, and dealer, was renowned for portraits of children and family groups as well as religious and genre scenes. This particular portrait, created during his mature period, entered the Städel Museum’s holdings at an unspecified later date, where it remains on view as an example of his domestic portraiture.