Abstract
This article proposes a new interpretation of Guillam van Haecht the Younger's The Gallery of Cornelis van der Geest (1628) as an extended exploration of ingenuity. It examines the ways in which the picture mobilises pictorially and linguistically varied aspects and meanings of ingenuity (ingenium, gheest, wit, esprit), in relation to connoisseurship, artistic theory, rhetoric, and natural philosophy. It situates the picture’s presentation of Flemish wit specifically within the Antwerpian milieu of the liefhebbers der schilderyen, including celebration of the Antwerp School of painters, from Metsys to Rubens. Among the various forms of ingenious discernment the picture reflected and sought to cultivate in its viewers, self-evaluation was critically important.
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