Artwork

Self-Portrait of the Artist with his Wife Suzanne Cock and their Children

Self-Portrait of the Artist with his Wife Suzanne Cock and their Children is an oil painting by the Flemish Baroque painting artist Cornelis de Vos. It dates from 1634 and is held in the collection of the Hermitage Museum.

About this work

Overview

Cornelis de Vos painted a family portrait in 1634 that brings together himself, his wife Suzanne Cock, and their five children. Executed in oil on canvas, the composition places the parents centrally, flanked by the youngsters, and reflects the Flemish Baroque taste for intimate yet formal groupings. The work is now part of the State Hermitage Museum’s collection in St. Petersburg.

Subject & Meaning

The painting functions as a domestic record, presenting the de Vos household as a cohesive unit. The adults wear somber, dark garments, while the children are shown in lighter hues, emphasizing generational contrast. Subtle props—a bow and arrow held by the father and a rope grasped by a daughter—hint at themes of guidance, protection, and the playful aspects of family life.

Technique & Style

De Vos employs chiaroscuro to model the figures against a muted, dark background, creating depth and drawing attention to the faces. The brushwork is smooth and refined, characteristic of Flemish portraiture, while the careful rendering of fabrics and textures showcases his skill as a draughtsman. The composition balances formal arrangement with a natural interaction among the figures.

History & Provenance

Created during the artist’s mature period in Antwerp, the portrait remained in private hands before entering the State Hermitage Museum in the 20th century. Its acquisition reflects the museum’s interest in expanding its representation of Northern Baroque portraiture, and it now serves as a key example of de Vos’s personal oeuvre within the collection.

Context

Cornelis de Vos was active as a painter, draughtsman, and dealer, often collaborating with contemporaries such as Peter Paul Rubens. His reputation for sensitive family scenes aligns with the broader Flemish Baroque focus on domestic virtue and social status. This work exemplifies the period’s blend of personal narrative and the display of wealth through refined portraiture.