Now on view at MNAA: Lute Player Accompanying an Old Man Holding a Musical Score by Jacques des Rousseaux, a rare and intriguing work from our collection. The life of des Rousseaux remains shrouded in mystery. His family, originally from Tourcoing in northern France, sought refuge in Leiden, The Netherlands. Born around 1600, des Rousseaux likely stayed connected to his roots, returning to France after a study trip to Italy—a rite of passage for many northern European artists seeking inspiration from the land of Caravaggio. Des Rousseaux was almost certainly a pupil of Rembrandt, who ran a workshop in Leiden from 1628 to 1631. His paintings often reflect such influence, to the point that some have been misattributed to the master himself. While many of his works are Tronies—intense studies of facial expressions influenced by Rembrandt’s circle—this particular piece diverges. It captures an intimate musical performance with two figures, blending the warmth of Rembrandt’s early style with Caravaggio’s dramatic naturalism.

Convers’arte with David De Witt
Tuesday, 13.05.2025, 6:30pm

For the third edition of Convers’arte, we are pleased to welcome David de Witt, Senior Curator at the Rembrandt House Museum, to reflect on one of the Dutch masterpieces in the Gaudium Magnum Foundation collection: Lute Player Accompanying an Old Man Holding a Musical Score, by Jacques de Rousseaux.

Titled Caravaggio Comes to Leiden: Jacques de Rousseaux’s Musical Allegory, the lecture will take us into the world of 17th-century Dutch painting—tracing Rousseaux’s connections to the Leiden circle of Rembrandt and Jan Lievens, while uncovering echoes of Caravaggio’s Utrecht followers.

Although still a relatively unknown figure of the Dutch Golden Age, Jacques de Rousseaux stands out for the distinctive blend of influences in his work. Born around 1600 in Tourcoing, northern France, he later settled in Leiden, where he likely trained in Rembrandt’s workshop. While best known for his expressive tronies—character studies focused on facial expression—Rousseaux also produced refined musical scenes, such as the painting currently on view at the MNAA. This work recalls Rembrandt’s early Musical Allegory (Rijksmuseum) and reveals the imprint of Caravaggesque naturalism, possibly absorbed through Jan Lievens, or through contact with French painters like Nicolas Tournier and Trophime Bigot.

With great insight, Dr. de Witt will guide us through the subtle layers of influence and innovation behind this singular composition, showing how Rousseaux found his own artistic path— an independent vision, distinct from his models and fellow pupils. 

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