Michael Sweerts (1618–1664), Portrait of Man, possibly Jean Deutz, with a Red Cloak, c. 1650, oil on copper, 31.1 x 23.6 cm, Wallace Collection, London
For many years, this portrait was mistakenly attributed to Karel Du Jardin (1626–1678), a common misattribution for many of Michael Sweerts’ unsigned works. Sweerts’ relative obscurity after his death, despite a successful career in Rome and Brussels, contributed to this confusion. His abrupt departure from the art world to pursue travels in Asia, coupled with his stylistic diversity, made attribution difficult. It wasn’t until the early 20th century, following the rediscovery of several paintings and critical studies, that Sweerts’ reputation began to be restored. His versatility, ranging from portraiture to genre scenes, often led to his works being credited to other artists, including Du Jardin.
The sitter in this portrait is likely Jean Deutz (1618–1673), a prominent Amsterdam merchant. The discovery of a journal from the Deutz family’s matriarch revealed that Sweerts painted Jean and his brothers—Jeronimus Deutz (1622–1670) and Joseph Deutz (1624–1684)—during their Grand Tour in Rome in 1648 and later. The Deutz brothers were significant Sweerts patrons, extending their relationship beyond portraiture. Between 1648 and 1650, Sweerts also acted as their art agent, negotiating purchases, and later handling trade matters for them in Rome.
The portrait of Jeronimus Deutz, now in the Dallas Museum of Art, shares many stylistic traits with this portrait of Jean Deutz. Both feature the same three-quarter pose and careful attention to light and texture. Using a limited palette, detailed fabric rendering, and subtle modelling of the face hallmarks Sweerts’ style. Both portraits were previously attributed to Du Jardin.
Sweerts’ technique combines smooth, delicate passages with more expressive brushwork. In this portrait, his thick impasto in the red cloak contrasts with the delicate modelling of the sitter’s face. The interplay of light and shadow, particularly on the face, enhances the three-dimensionality, giving the portrait a tangible, almost lifelike presence.