On The Table Read Magazine, “the best arts and entertainment magazine UK“, in spring 2027, the National Gallery presents the UK’s first-ever solo exhibition dedicated to Catharina van Hemessen, the earliest documented European female painter, reuniting her rare signed portraits and celebrating her trailblazing role in Renaissance art.
In spring 2027, the National Gallery in London will present the first-ever UK exhibition dedicated solely to Catharina van Hemessen (1527/28 – after 1565), one of Europe’s earliest documented female painters. Running from 4 March to 30 May 2027, Catharina van Hemessen will reunite most of her signed paintings from international collections, offering a rare comprehensive view of this trailblazing Flemish Renaissance artist’s work.
A Trailblazing Artist in a Male-Dominated World
Catharina van Hemessen holds a unique position in art history as the earliest European female painter whose works can be authenticated without doubt, thanks to her consistent signatures and dates. Active primarily in the late 1540s and early 1550s, she specialized in small-scale portraits, often depicting women with refined elegance and subtle psychological depth. Her sitters, typically from wealthy backgrounds, are shown in luxurious attire against dark or neutral backgrounds, their poses and expressions conveying quiet dignity and introspection.
Only about eight signed portraits and a handful of devotional paintings survive in public collections worldwide, with several attributed works awaiting further study. Despite this limited oeuvre, van Hemessen earned contemporary acclaim: influential art historians Giorgio Vasari and Lodovico Guicciardini named her among just four female painters active in 16th-century Antwerp, and the only one with an undisputed body of work.
Dr. Christine Seidel, curator of the exhibition and Associate Curator of Renaissance Painting at the National Gallery, emphasizes van Hemessen’s significance: “Catharina van Hemessen’s significant beginnings in Antwerp, the most prolific centre of artistic production in northern Europe in the 16th century, secured her rank among the best-known women painters of the early modern period.”
Biography and Career
Born in Antwerp around 1527/28, Catharina was the daughter of Jan Sanders van Hemessen (c. 1500 – after 1563), a prominent Mannerist painter known for blending Italian influences with northern traditions. Trained in her father’s workshop—likely collaborating on projects—she developed a distinctive style marked by realism, delicate detailing, and intimate scale.
Van Hemessen gained patronage from Maria of Hungary (also known as Mary of Austria), regent of the Netherlands and sister of Emperor Charles V. In 1554, she married Chrétien de Morien, a respected organist at Antwerp Cathedral. Two years later, the couple accompanied Maria to Spain, where van Hemessen remained in the royal entourage until the regent’s death in 1558. They returned to the Netherlands, receiving a lifelong pension from Maria’s estate.
Records place them in Antwerp in 1561 (childless at that time) and later in ‘s-Hertogenbosch around 1565, following de Morien’s appointment there. Van Hemessen is believed to have died shortly after, possibly in childbirth between 1565 and 1568. Her active painting career appears to have ended around 1554, possibly after marriage—a common occurrence for female artists of the era—though she reportedly continued teaching male apprentices.
Key Works and Artistic Style
Van Hemessen’s portraits transform formal Habsburg-court conventions into intimate, small-format gems showcasing her technical mastery. Her sitters’ averted gazes and graceful postures create a sense of quiet realism and emotional reserve.
Her most groundbreaking work is the Self-Portrait (1548, Kunstmuseum Basel), painted at age 20. It depicts her at the easel, brushes in hand, beginning a portrait—the earliest known self-portrait of any artist (male or female) actively painting. Inscribed “EGO CATERINA DE HEMESSEN ME PINXI 1548 / ETATIS SVAE 20” (“I, Caterina van Hemessen, painted myself in 1548 at the age of 20”), it boldly asserts her identity and skill.
Other notable signed works include:
- Portrait of a Woman (1551, National Gallery, London): A refined depiction of a wealthy sitter, signed in Latin.
- Portrait of a Lady (c. 1550s, various collections): Examples highlighting her attention to fabrics and facial subtlety.
- Girl at the Virginals (1548, Wallraf-Richartz-Museum, Cologne): Possibly portraying her sister Christina, often considered a pendant to the self-portrait.
- Religious pieces like Rest on the Flight into Egypt (c. 1550), revealing her versatility beyond portraiture.
Her style bridges medieval traditions and emerging humanist realism, with precise rendering of textures and a restrained emotional depth.
The Family Workshop: Jan Sanders van Hemessen
Catharina’s achievements are inseparable from her father’s influence. Jan Sanders van Hemessen was a pivotal figure in Antwerp’s art scene, bridging Quinten Metsys and Pieter Bruegel the Elder. A master in the Guild of Saint Luke by 1524, he specialized in moralizing genre scenes, biblical narratives, and satirical depictions of everyday life—often featuring saints and sinners, lovers and fools in contemporary settings.
His evocative, humanistic works incorporated Italian Mannerist elements from his studies abroad, contributing to the development of Flemish genre painting. Despite his influence, Jan’s name faded over time, while Catharina’s endured as a symbol of female artistic agency.
Companion Exhibition in Antwerp
The London show complements a major exhibition in Antwerp: Van Hemessen & Father: The Antwerp Workshop of Jan and Catharina van Hemessen (15 October 2026 – 31 January 2027) at the Museum Snijders&Rockoxhuis. Curated by Dr. Maarten Bassens, this first comprehensive retrospective explores the family as a creative enterprise, highlighting collaboration between father, daughter, and possibly sons.
It reframes the Antwerp Renaissance through themes of artistic innovation, family dynamics, and women’s roles in art. Highlights include Jan’s monumental works, such as genre scenes and religious compositions, alongside Catharina’s portraits—revealing a shared workshop environment that fostered bold experimentation.
Together, these exhibitions revive the Van Hemessen legacy, underscoring Antwerp’s role as a 16th-century hub of artistic progress and illuminating the enduring contributions of overlooked female pioneers. As renewed interest in women artists grows, Catharina van Hemessen’s story of talent, determination, and historical recognition continues to inspire.
Catharina van Hemessen
4 March – 30 May 2027
The National Gallery
Room One, Admission free
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