Heavenly Ascent: Jan Boeckhorst’s, The Snyders Triptych III

Heavenly Ascent: Jan Boeckhorst’s The Snyders Triptych III

When we encounter Jan Boeckhorst’s luminous The Snyders Triptych III (c. 1659–1660), we step into a world where Flemish Baroque drama meets a profound spiritual stillness. Boeckhorst, a pupil and collaborator of Peter Paul Rubens, channels the grandeur of his master’s style while revealing his own sensitivity to narrative clarity and emotional resonance.

The Snyders Triptych III (c. 1659–1660)

A Baroque Vision of the Sacred

Painted in Antwerp during the final decade of Boeckhorst’s life, the triptych was commissioned for the influential Snyders family, prominent patrons in the Flemish art scene. The central panel (pictured above) captures the moment of ascension: a radiant figure rises heavenward, bathed in streams of golden light that cut through a turbulent sky. Below, disciples or witnesses shield their eyes, stretch their hands, or kneel in awestruck devotion.

The diagonal sweep of the composition, from the kneeling figure in the lower right to the ascending figure at upper left, creates a sense of movement that is quintessentially Baroque. The drama unfolds not in violence or chaos but in the tension between human earthbound longing and divine elevation.

Light as Divine Language

Boeckhorst’s use of chiaroscuro, contrasting golden illumination against deep, shadowed earth tones, emphasizes the divide between the mortal and the celestial. The upper half glows with soft yellows and whites, suggesting divine radiance, while the lower registers anchor the scene in warm ochres and russet garments.

The beams of light are not merely decorative; they function as a theological metaphor, signifying the presence of the divine breaking through the mortal world. This careful orchestration of light and shadow was a hallmark of the Flemish Baroque style, designed to move the viewer’s emotions toward reverence.

Emotion in Gesture

While Rubens often populated his scenes with robust, muscular figures in tumultuous action, Boeckhorst opts for expressive yet restrained gestures. Notice the open palms and upturned faces of the onlookers, their reverence captured in tender detail. The kneeling figure in the foreground, draped in ochre and ivory, is rendered with a quiet humanity that makes the scene relatable despite its supernatural subject.

A Meeting of Influences

Jan Boeckhorst (1599–1668), sometimes nicknamed “Lange Jan” (“Tall John”) for his imposing stature, was a German-born painter who made his career in Antwerp. Initially a lawyer, he turned to art in his mid-20s and became an accomplished collaborator within Rubens’ prolific studio.

In The Snyders Triptych, we see Boeckhorst’s ability to balance Rubens’ theatrical dynamism with a delicate devotional atmosphere, qualities that made his religious works especially prized in the Counter-Reformation context.

Why It Matters Today

The painting stands as a testament to the Baroque aim of engaging both the senses and the soul. Its sweeping motion, glowing palette, and human intimacy continue to resonate with viewers who find in its imagery not just a biblical scene, but an exploration of aspiration—humankind reaching toward the ineffable.

For modern audiences, Boeckhorst’s work offers a reminder of the collaborative and transnational nature of Flemish Baroque art, while also serving as an example of how sacred narrative can be infused with warmth, humanity, and awe.