SUYDERHOEF, Jonas (1613-1686) after Pieter SOUTMAN; [Joanna, QUEEN OF CASTILE (1479-1555, portrait of)]
[Queen Juana "the Mad" of Castile and Leon] Johanna Uxor Philippi I. Regina Castilia et Legionis etc...
Haarlem: Published by Pieter Soutman, circa 1644. Mixed method, engraving and etching. Printed on fine laid paper, with a watermark of a sun. Trimmed within the platemark on all sides. Small tear on the upper left portion. Image size: 15 3/4 x 10 1/2 inches. Sheet size: 16 1/4 x 10 3/4 inches.
A stunning portrait of Queen Joanna I, by Jonas Suyderhoef, one of the most celebrated Dutch portrait engravers.
Jonas Suyderhoef, was one of the most eminent seventeenth century Dutch engravers. His refined and delicate technique, which combined a complicated use of etching and engraving, revolutionized the medium and introduced a new fluidity to the art of engraving. Considering his fame, surprisingly little is known of Suyderhoef's life and career. Born in 1613, he spent the entirety of his career in Haarlem, becoming one of the city's most esteemed craftsmen. It is conjectured that he received his training from the celebrated Dutch painter and engraver Pieter Soutman. He collaborated with his master on a number of plates and later reproduced many of his paintings as fine engravings. During his career Suyderhoef produced 138 magnificent engravings, the earliest of which is dated 1641 and the latest 1669. Although he did produce a number of dramatic mythological scenes, the vast majority of his oeuvre was portraits. He reproduced the works of the Dutch masters, in particular the portraits of Rubens, Hals, Van Dyke, and his master Soutman. He entered the Haarlem guild in 1677, and was Franz Hals's principal engraver. In the history of the medium, Jonas Suyderhoef is considered one of the masters of portrait engraving. By illustrating the subtle beauty of the medium, his rich refined style set a precedent for future engravers. This magnificent portrait of Queen Joanna I is an excellent example of Suyderhoef's skill, and an important work from one of the greatest old master engravers of the seventeenth century. Joanna, historically known as "Joanna the Mad" (Juana la Loca), was a remarkable Queen whose life was marked by intricate political maneuvering and the struggle for her autonomy. Her life and legacy continues to be the inspiration for artists and subject of intrigue for scholars alike. Born in 1479 as the daughter of Queen Isabella I of Castile and King Ferdinand II of Aragon, she was destined for a significant political marriage that would strengthen her family's alliances. Her academic education was extensive, encompassing various subjects and languages. Joanna was married to Philip the Handsome, an Austrian archduke, in 1496, marking the beginning of her tumultuous journey. The sudden death of Philip in August 1506 had a devastating impact on Joanna's mental well-being. It is widely believed that she never recovered from the loss and displayed signs of extreme distress. She clung to the belief that her deceased husband was still alive, going to great lengths to preserve his embalmed body and even allowing it to join her at the dinner table. Despite claims of her madness, it is worth noting that independent correspondence from the time does not conclusively indicate her insanity. The historical accounts of Joana the Mad's life exemplify a troubling trend where female independence and strength are frequently conflated with madness. Joanna's story serves as a poignant reminder of the need to challenge such stereotypes and to reevaluate the historical narratives that have unfairly stigmatized strong and independent women as "mad" when they were, in fact, simply exercising their right to autonomy and self-determination
Hollstein, Dutch and Flemish etchings, engravings, and woodcuts, ca. 1450-1700 Vol XXVIII, p. 218, no. 35, state ii; Hind, A History of Engravings and Etchings p. 129; Benezit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs.