Family Portraits Painter de Bray Used Father, Mother, Friends to Model in Historical Depictions by Daniel Brill Any artist can say that his mom and dad were heroes, but only a true talent can actually transform his parents into the most powerful couple in the Roman Empire. Such was the gift of Jan de Bray, the celebrated Dutch painter best known for his work in the genre of ìportrait historiÈ,î in which the artist recreates famous historical or religious scenes by using costumed friends and family as models. For the first time, de Brayís work is on display at the National Gallery of Art in a collection of five pieces titled, ìJan de Bray and the Classical Tradition.î De Bray, one of the most prominent artists of the 17th-century Dutch classicalism movement, worked as both an architect and an inventor in his hometown of Haarlem, but he is most famous for his intensely personal portraits in the historically rooted genre. As a result, the exhibit is as much a celebration of de Bray himself as it is a celebration of his family. Many critics attribute de Brayís artistic fondness for family to his tragic life. His parents and four of his siblings were killed by the plague, and all three of his wives diedótwo wi thin a year of their wedding to him. Nevertheless, de Brayís portraits express a beauty and personal radiance that embraces the happier side of life, even if they are born from bittersweet nostalgia. The exhibitís feature piece, for example, is intensely rich in both color and story. ìBanquet of Antony and Cleopatra,î which hangs majestically on the main wall of one of the galleryís cozy rooms, was painted in 1669 and is easily the most stunning piece in the exhibit. For this piece of portrait historiÈ, de Bray chose the well-known tale about the two famous lovers putting a wager on who could host the most extravagant banquet. As the legend goes, Cleopatraís feast was more modest than her husbandís, but she won the bet with a simple act: dissolving her priceless pearl earring in a glass of vinegar and drinking it, a gesture more mind-blowing than any entrÈe her husband could offer. In a testament to his admiration for his deceased parents, de Bray cast them as Antony and Cleopatra, painting them with such detail so as to convey the look of affection in his fatherís eyes. More of de Brayís family members populate the work: Jan is presented in a supporting role as a proud soldier standing guard over the elaborate processions, and his brothers and sisters are depicted as the other well-dressed guests at the party. Some believe that one of Cleopatraís attendants may actually be Janís first wife, supporting the theory that this piece may be a memorial for all of de Brayís deceased loved ones. A general admiration for people is obvious throughout the entire collection, and can especially be seen in the aptly titled ìBoy Holding a Basket of Fruit.î This 1658 oil on panel radiates with tenderness, as the boyís cheeks and nose are stroked with the same calming crimson hue that envelops the ripe apples in his basket. In stark contrast, dark vines of forest-colored ivy are draped over the boyís arms, leading many to see symbolism in this juxtaposition of natural images. Fruit was often seen as a representation of childhood, as both need time and harmonious conditions to mature properly. Ivy was often linked with educationótwo things that must be handled properly to achieve their intended purpose. Although none of de Brayís marriages ever reached full fruition, his wives provided fuel for some of his most inspired work. The exhibit includes two portraits featuring two of de Brayís wives in the roles of famously upstanding women, Mary Magdalene of the Bible and Penelope of Homerís ìOdyssey.î In the latter portrait, de Bray painted himself as Ulysses, extending his hand to his faithful wife upon return from his legendary journey. The power of this painting is in its textures, found in the intricately detailed, albeit historically inaccurate, garments that the subjects wear, and in the layered emotions of love and gratefulness in the eyes of de Brayís Ulysses. Along with de Brayís paintings, the exhibit features portraits from two other prominent 17th-century classicalists, Sir Peter Paul Rubens and Frans Hals, from whom many believe de Bray drew much of his stylistic inspiration. Echoes of Halsówho lived in Haarlem at the same time as de Brayócan be found in the unconventionally relaxed poses of de Brayís models, painted with free-flowing brushstrokes reminiscent of Halsís work. Rubens is believed to have worked with de Brayís father Salomon, who was also an artist. De Brayís portrait of his parents mirrors the ancient Roman cameo style adopted by Rubens for his 1614 piece, which is also on display here. A truly unconventional storyteller, de Bray painted his subjects with such impassioned devotion that the exhibit practically transforms itself into a glorious family picture album. It is this masterful combination of family and folklore that led Earl A. Powell, director of the National Gallery of Art, to call each of de Brayís portraits ìa history lesson in itself.î ìJan de Bray and the Classical Traditionî runs through Aug. 14 at the National Gallery of Art, located on the National Mall between 3rd and 9th Streets at Constitution Avenue, NW. For more information, please call (202) 737-4215 or visit www.nga.gov. Daniel Brill is an editorial intern for The Washington Diplomat.