Nearly five centuries after establishing her artistic identity through a signed self-portrait, Catharina van Hemessen is receiving renewed attention with a dedicated exhibition of her work. The show, titled “Van Hemessen and Father,” is currently on display at the Snijders and Rockoxhuis museum in Antwerp, Belgium, and runs through January 31. It presents eleven of van Hemessen’s nineteen known paintings—primarily small-scale portraits and religious scenes—alongside works by her father and teacher, Jan van Hemessen. In March, several of her works will be featured at the National Gallery in London in a solo exhibition.
Van Hemessen, born in 1528 in Antwerp, an economically vibrant city with a flourishing art market, was active during the 16th century in her father’s workshop. Although she achieved recognition during her lifetime—with an Italian historian describing her as an “excellent miniaturist”—her contributions have largely been overshadowed or dismissed by art history over the centuries. While Jan van Hemessen’s legacy remained well established, Catharina’s work was often considered “weak” or “naïve,” or it was simply overlooked.
Art historians attribute this neglect partly to the prevailing paternalistic attitudes of the era, as well as the social and legal limitations imposed on women. Despite these challenges, van Hemessen signed fourteen of her paintings in Latin, suggesting a considerable level of education and confidence. Her self-portrait, in which she presents herself seated at an easel wearing fashionable attire, conveys a sense of pride in her identity as an artist.
Technical analyses and infrared imaging have revealed that some paintings previously attributed solely to Jan van Hemessen may bear Catharina’s hand as well. This aligns with broader findings in art history, where works by female artists such as Artemisia Gentileschi, Michaelina Wautier, and Orsola Maddalena Caccia have been reassessed and reattributed from male relatives who oversaw family workshops. As Maarten Bassens, head curator at Snijders and Rockoxhuis, explained, workshops at the time often involved multiple contributors, with artworks sold under one name. Within her father’s workshop, Catharina likely specialized in small-scale portraits, contributing to pieces signed by Jan.
Van Hemessen’s portraits often depict sitters adorned in intricate textiles and embroidery, indicating her access to elite clientele or social circles. However, her career appears to have ended after her marriage in 1554 to musician Kerstiaen de Morijn. The couple relocated to Valladolid, Spain, in 1556, where de Morijn was a court organist, and no further works by Catharina are documented.
Some scholars propose that her self-portrait may have served as a form of self-promotion, potentially positioning her for a refined social role, such as a lady-in-waiting at the court where her husband served. The limited biographical information on van Hemessen makes such interpretations speculative but highlights the complex roles women navigated during this period.
Curators and researchers emphasize that exhibitions like “Van Hemessen and Father” provide important contexts for understanding female artists of the Renaissance—recognizing both the opportunities and limitations they faced. These presentations aim not only to showcase the artworks but also to illuminate the stories behind the artists, offering a more comprehensive view of their contributions to art history.