The Conversion of Saul with Christ and the Cross

The Conversion of Saul with Christ and the Cross, c. 1645–47. Jacob Jordaens (Flemish, 1593–1678). Brush and brown wash, gouache and watercolor over black and red chalk, heightened with traces of white; framing lines in graphite; sheet: 33 x 19.9 cm (13 x 7 13/16 in.). The Cleveland Museum of Art, Delia E. Holden and L. E. Holden Funds, 1954.367

Created in 1645 during the Baroque period, this work belongs firmly within the religion & mythology tradition. Jacob Jordaens worked at a moment when the rivalry between Catholic Baroque drama and Protestant restraint reshaped what a painting could mean. Every gesture, fabric, and gleam of light was decoded by contemporary viewers like a private language.

The physical object — brush and brown wash, gouache and watercolor over black and red chalk, heightened with traces of white; framing lines in graphite, Sheet: 33 x 19.9 cm (13 x 7 13/16 in.) — carries its own history of handling and restoration. Jacob Jordaens's brushwork here moves between exacting description and looser, more suggestive passages, a balance typical of Baroque studio practice.

Look closely and the painting opens up. Objects you might pass over — a folded letter, a half-drawn curtain, the angle of a glance — were placed to be read. What looks like straightforward narrative is layered with typology: episodes chosen and staged to rhyme with older stories the original audience already knew.

Housed at Cleveland Museum of Art in Cleveland, the painting has passed through the hands of collectors, dealers, and institutions before reaching public view — a provenance that is itself part of the object's story.

“A silence so complete it becomes its own witness.”