(Antwerp 1599–1641 London)
An Equestrian Portrait of Archduke Leopold Wilhelm of Austria (1614–1662),
oil on canvas, 211.5 x 204 cm, framed

Provenance:
Private collection, Belgium

Exhibited:
Bilzen, Landcommanderij Alden Biesen, Krijg & Kunst: Leopold Willem (1614–1662), Habsburger, Landvoogd en Kunstverzamelaar. Tentoonstelling onder de hoge bescherming van Z.K.H Aartshertog Lorenz van Oostenrijk-Este, Prins van België, 3 October–14 December 2003, cat. no. III.1.1.

Literature:
J. Mertens, F. Aumann, Krijg & Kunst: Leopold Willem (1614–1662), Habsburger, Landvoogd en Kunstverzamelaar, exhibition catalogue, Bilzen 2003, p. 286, no. III.1.1., illustrated p. XXXII;
L. Dosogne, Krijg en Kunst. Alden Biesen belicht Leopold Willem van Habsburg als politicus, kerkleider en kunstliefhebber, in: M. Vanvaeck (ed.), OKV – Openbaar kunstbezit Vlaanderen, Ghent 2003, vol. 4, 41ste jaargang, pp. 26–27, illustrated p. 27

The present monumental equestrian portrait relates closely to a renowned portrait by Anthony van Dyck of Prince Francis Thomas of Savoy-Carignano on horseback, conserved in the Galleria Sabauda, Turin (inv. no. 743) and was made during the master’s second Antwerp period. At least three copies were made of this ‘icon of power’, as Susan Barnes describes the Turin work in her monograph on the artist (see S.J. Barnes, Van Dyck: A Complete Catalogue of the Paintings, New Haven/London 2004, pp. 347-349), including a version in Waddesdon Manor, Buckinghamshire (inv. no. 3511). This highly regarded composition was repeated by other artists as well – a portrait by Gonzales Coques of Thomas, 3rd Baron of Fairfax, on the exact same horse, was formerly with Schaeffer Galleries, New York.

The Archduke sits firmly in the saddle on the back of the rearing Spanish Andalusian stallion, whilst commanding his troops forward with his baton, a commander’s symbol often seen in military portraiture. A few notable changes can be observed when compared with the Turin picture, notably how the architectural fragment and classical column have been replaced with a verdant landscape and a cloudy blue sky. The archduke is furthermore portrayed with his distinguishable hairstyle and moustache, a golden Grand Master Cross of the Teutonic Order has been tied around his neck. His glistening armour, the red shimmering drapery, the gold-embroidered saddle, and even the long curly mane of the horse appear, however, almost identical to the Turin version.

The rearing horse is executing an extremely difficult dressage exercise, where the horse has been instructed to rear in a very controlled manner, moving its weight and that of his rider to its hind legs and to stay low to the ground whilst bringing its front legs and head close to its chest. This is also known as the Levade and is still performed by the Lipizzaner horses at the Spanish Riding School in Vienna and by the Andalusian horses of the Royal Andalusian School of Equestrian Art in Jerez de la Frontera. Strictly speaking the horse should keep the lower part of the front legs closer to his torso than is seen in the present painting and its equivalents. To control such a noble but powerful animal as a Spanish stallion and have it execute a perfect Levade symbolised the sitter’s natural authority over his troops and displays his talents as a ruler and commander. This particular motive is seen in many equestrian portraits by Peter Paul Rubens, Diego Velasquez and Anthony van Dyck and their schools and has its origin in the highly popular emblematic literature from the sixteenth and seventeenth centuries, the earliest being the Emblemata by Andrea Alciato published in 1531.

As third son of the Emperor Ferdinand II, Leopold Wilhelm could not escape his military and ecclesiastical duties. He was a strategic puppet for the Habsburg family and held various Prince-bishoprics from an early age. Born into the Habsburg family, Leopold Wilhelm was not allowed to wed out of fear for distribution of the patrimony. After earning his stripes on the battlefield, Leopold Wilhelm commanded the troops of the Holy Roman Empire during the Thirty Years’ War and was promoted Grand Master in the Teutonic Order during this time. As temporary Governor of the Spanish Netherlands he was at the height of his powers resulting in many portraits, of which the present painting is a fine example. In 1656 the Archduke moved to Vienna and took with him his outstanding art collection as well as his court painter David Teniers II who catalogued these works. Up until this day they form the core of the collection of the Kunsthistorisches Museum, Vienna.