Portrait of Jean Gros (recto); Coat of Arms of Jean Gros (verso)

CC0 Public Domain Designation

1460–64

Rogier van der Weyden (Netherlandish, c. 1399–1464)
Workshop of Rogier van der Weyden (Netherlandish, c. 1399–1464)

This portrait once formed half of a folding, portable diptych. The sitter—identiﬁable through his coat of arms, personal motto, and initials on the back of the panel—is Jean Gros, an administrator to the future Duke of Burgundy. This portrait depicts him at the outset of a successful career, during which he amassed a large fortune and led a privileged life. Rogier van der Weyden presented the half-length ﬁgure against a plain, dark background, which accentuates his features and his expressive hands.

This gesture indicates that the sitter’s prayerful gaze was originally directed at another panel with an image of Mary and the infant Jesus, now in the Musée des Beaux-Arts in Tournai, Belgium; Gros’s coat of arms is on the back of that panel as well. This type of diptych, which was intended to suggest continuous prayer and to record the donor’s features, was probably ﬁrst made for royalty around 1400, but Van der Weyden revitalized it in the mid-ﬁfteenth century, creating similar diptychs for patrons at the highest level of the Burgundian court. In commissioning one for himself, Gros was displaying his ambition as well as his close associations with the duke and his retinue.

Status: On View, Gallery 202
Department: Painting and Sculpture of Europe

Artist: Rogier van der Weyden
Title: Portrait of Jean Gros (recto); Coat of Arms of Jean Gros (verso)
Place: Flanders (Artist's nationality:)
Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.: 1460–1464
Medium: Oil on panel
Inscriptions: Inscribed verso: coat of arms of Jean Gros; 1 GRACES . A DIEV. (on banderole); JG (flanking escutcheon)
Dimensions: 38.5 × 28.8 cm (15 3/16 × 11 3/8 in.); Reverse: 39 × 28.8 cm (15 3/8 × 11 3/8 in.); Framed: 43.2 × 35.6 × 7.7 cm (17 × 14 × 3 in.)
Credit Line: Mr. and Mrs. Martin A. Ryerson Collection
Reference Number: 1933.1051
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.: https://api.artic.edu/api/v1/artworks/16298/manifest.json

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par Joseph van der Venken (Anvers 1872–Etterbeek 1964),” in Postprints of the colloquium Le Dessin sous-jacent dans la peinture XIII, Louvain-la-Neuve, 2001, pp. 7, 10–11, 14–15, fig. 5.
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Liber amicorum in memory of Professor Dr. Maurits Smeyers, ed. Bert Cardon et al., Paris, Leuven, and Dudley, Mass., 2002, fig. 3 (stripped state).
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196, no. 6, fig. 28.
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Late Middle Ages and Northern Renaissance, ed. Jeffrey F. Hamburger and Anne S. Korteweg, London and Turnhout, 2006, pp. 489–93, fig. 2.
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James Rondeau, ed., Paintings at the Art Institute of Chicago: Highlights of the collection (New Haven and London: Yale University Press, 2025), 23 (ill.).

Bruges, Grande Salle des Halles, Tableaux de l’ancienne école néerlandaise, 1867, no. 19.
Art Institute of Chicago, A Century of Progress, 1933, no. 55.
Art Institute of Chicago, A Century of Progress, 1934, no. 128.
Brussels, Musée Communal de Bruxelles, Maison du Roi, Rogier van der Weyden—Rogier de le
Pasture, 1979, no. 16.
Washington, D.C., National Gallery of Art, Prayers and Portraits: Unfolding the Netherlandish Diptych, November 16, 2006–February 4, 2007, cat. 37; Antwerp, Koninklijk Museum voor Schone Kunsten, March 3–May 27, 2007.
The Art Institute of Chicago, New Light on Old Masters: Research on Northern European and Spanish Paintings before 1600 in the Art Institute, 26 June—14 September 2008, no cat.
Leuven, Municipal Museum, Rogier van der Weyden 1400-1464: Master of Passions, September 20- December 6, 2009.

Dr. Isaac Joseph de Meyer (d. 1861), Bruges, by 1859 [Weale 1859]; his son, Dr. August de Meyer, Bruges. Sold to Rodolphe Kann (d. 1905), Paris, by 1899 [according to Friedländer 1899]; his heirs; sold to Duveen, Paris and New York, 1907 [information supplied by Guy Bauman]; sold to Dowdeswell and Dowdeswell, London, Feb. 1912 [Kleinberger stock card, Department of European Painting, Metropolitan Museum of Art, New York]; sold to Kleinberger, Paris and New York, Mar. 1, 1912 [Kleinberger stock card cited above]; sold to Benjamin Altman, New York, July 3, 1912; bought back by Kleinberger, Nov. 16, 1912 [Kleinberger stock card]; sold to Martin A. Ryerson (d. 1932), Chicago, June 20, 1913 [bill of sale, Art Institute Archives]; on loan to the Art Institute from 1913; bequeathed to the Art Institute, 1933.

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Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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Portrait of Jean Gros (recto); Coat of Arms of Jean Gros (verso)

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Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world.

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