Jan Josef Horemans the Younger (1714–c.1790) was a celebrated Flemish painter known for his refined depictions of 18th-century domestic life. A master of the Antwerp Guild of Saint Luke and twice its dean, Horemans specialized in genre scenes that captured the quiet rituals and cultural rhythms of the Flemish bourgeoisie. His nickname, “le clair,” refers to his use of a lighter, more luminous palette, a marked shift from the darker tones favored by his father, Jan Josef Horemans the Elder.
This original oil on canvas, titled “Meeting in the Parlour,” is a superb example of Horemans’ narrative precision and attention to social detail. Likely depicting a traditional birth visit, the scene features a nursemaid seated near a glowing hearth, cradling a newborn while elegantly dressed guests offer their presence in soft, ceremonial reverence. A canopied bed in the background suggests the recent birth, while the restrained gestures and subtle placement of figures reflect the values of propriety, modesty, and family status in Enlightenment-era Flanders.
Executed in warm umbers, coral reds, and softened whites, the painting is rich with period detail. The wallpaper features a delicately patterned, possibly damask-inspired design, and the upholstery and draperies suggest the presence of fine imported textiles. The central female figure wears a full-skirted gown of deep red with lace detailing, while male visitors appear in powdered wigs and formal frock coats. Every detail, from the fabric folds to the light catching on polished furniture, offers a glimpse into the rituals and refinement of 18th-century Flemish life.
Horemans’ works are held in prominent collections across Europe and regularly feature in major auctions. A museum-worthy painting with exceptional storytelling and historical value.
Condition:
Oil on canvas, relined. Surface presents well with expected craquelure consistent with age. Minor inpainting visible under UV in the upper right quadrant and along the edges, well-executed and stable. Canvas has been professionally stretched on a newer support. No signs of active flaking or instability. Frame is likely later, in good condition with light wear to corners and gilding. Overall, the painting is in very good antique condition, conserved and display-ready. (refer to photos)
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