The portrait of Eva is the only informal one in the series that Wtewael painted of his immediate family. He painted his youngest daughter when she was twenty-one. She is depicted as the paragon of a virtuous woman. The lacework and sewing cushion are references to her daily activities. The Bible or prayerbook on the table attest to her faith. It is likely that all the furniture and objects in the room existed in real life. The table on the painting is mentioned in the inventory of Wtewael and became part of the collection of the Centraal Museum by legacy.
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The portrait of Eva is the only informal one in the series that Wtewael painted of his immediate family. He painted his youngest daughter when she was twenty-one. She is depicted as the paragon of a virtuous woman. The lacework and sewing cushion are references to her daily activities. The Bible or prayerbook on the table attest to her faith. It is likely that all the furniture and objects in the room existed in real life. The table on the painting is mentioned in the inventory of Wtewael and became part of the collection of the Centraal Museum by legacy.
Eva Wtewael was het jongste kind van de schilder Joachim Wtewael en Christina van Halen. De op het schilderij afgebeelde tafel bevond zich met de schilderijen in het bezit van de familie Martens en bevindt zich nu eveneens in het CM, inv.nr. 8465.
Documentation
Caesar van Everdingen : Schilder met een vleiende penseel (1616/1617-1678), samenst. en red. Christi M. Klinkert en Yvonne Bleyerveld, (Alkmaar, 2016)
De Utrechtse Parade 1495-1995 : van Van Scorel tot Rietveld en Koch, red. Renger de Bruin, Jos de Meyere, Suzanne de Sitter. teksten Hanneke Adriaans, Marja Bosma, Renger de Bruin, Roman Koot, Jos de Meyere, Ida van Zijl, (Utrecht, 1994), p. 113, afb. in kleur p. 114
De portrettenverzameling Martens van Sevenhoven, een beeldkroniek van een Utrechtse familie, F.G.L.O. van Kretschmar, (Jaarboek Centraal Bureau voor Genealogie, 1978), p. 182, nr. 70, kleurenpl. I
