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course the ease with which they could be moved and reinstalled, an aspect which has made them also difficult to trace. In fact, the genre itself existed well before De Wit was active and they were just called "grauwtjes" (little grays, or grisailles), and through De Wit's art they slowly became known as "witjes" (little whites). The shadows in the painting are supposed to be aligned with the light source, so in this case, the painting was probably an overdoor with a window on the left. The painter Jacob de Wit excelled at this "painting of putti in a bas-relief" style of
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effect when the viewer walks into a room. Stucco work as a decorative scheme was quite popular in the
Netherlands from the late 17th century throughout the 18th century, but these imitation-stucco paintings were valued for their cleverness, their clarity even on a cloudy day without shadows, and of
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The reason this painting is important for the art historical record has therefore more to do with its subject than with its painterly qualities. Indeed, the subject is featured in another painting owned by the
Metropolitan Museum of Art, namely their self-portrait by
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Several paintings of this specific scene dating from the 17th century and 18th century have survived, and sometimes these were incorporated into other paintings. Though the paintings themselves have survived, the interpretation has not. In general, the popularity of
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The subject remained popular through the 19th century, when it was used by the sculptor P.E. van den
Bossche for a sculpted frieze above the doors of a building on the
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bas-reliefs are also in the J.P. Morgan bequest, though it is unknown whether Morgan knew about
Sauvage's copy of the other painting in his collection:
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The popularity of "witjes" as a decorative element, but also as a collector's item, caused De Wit to have many followers, including
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would just refer to it as "well-known relief by
Duquesnoy of children playing with a he-goat".
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Kennerschap en de ideale schoonheid, Lambert ten Kate over de tekeningen in zijn verzameling
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discovered two "grauwtjes" by De Wit after reliefs by
Duquesnoy in the estate sale of
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67.9 cm (26.7 in) × 104.1 cm (41.0 in)
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in "witjes" as overdoors or room panels had to do with a
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520:Dutch Paintings in the Metropolitan Museum of Art
217:. This painting came into the collection via the
179:Witjes by De Wit seem to "pop out" of the canvas
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191:A De Wit overdoor with window on the right
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221:bequest, and the Dou was bequeathed by
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16:Painting in the style of Jacob de Wit
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501:Putti at play with a goat, 18de eeuw
526:, Metropolitan Museum of Art, 2007
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127:. It is in the collection of the
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483:Putti playing with a billy-goat
439:"Children Playing with a Goat"
125:a relief by Francois Duquesnoy
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470:283. Portrait of the Painter
364:Children Playing with a Goat
345:Children Playing with a Goat
112:Children Playing with a Goat
22:Children Playing with a Goat
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443:Metropolitan Museum of Art
129:Metropolitan Museum of Art
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119:painting in the style of
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92:The Met object ID: 437949
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347:theme. Two of Sauvage's
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232:Known versions by Dou:
540:18th-century paintings
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392:The Triumph of Bacchus
550:Paintings of children
488:Pieter Joseph Sauvage
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219:John Pierpont Morgan
115:is an 18th-century
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319:A Poulterer's Shop
73:Accession No.
408:Putti with a Goat
333:The Grocer's Shop
291:The Violin Player
227:Hofstede de Groot
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39:18th century
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135:Description
88:Identifiers
534:Categories
490:in the RKD
425:References
305:The Doctor
215:Gerard Dou
55:Dimensions
153:grisaille
117:grisaille
48:oil paint
264:, Uffizi
63:Location
50:, canvas
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44:Medium
560:Putti
142:putti
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36:Year
518:in
506:RKD
486:by
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