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The Grove Dictionary of Art

From Rembrandt
to Vermeer
17th-century Dutch Artists

grove art
Copley Square
The Grove Dictionary of Art

From Rembrandt to Vermeer

The Grove Dictionary of Art

Other titles in this series:

From Renaissance to Impressionism

Styles and Movements in Western Art, 1400-1900

From Expressionism to Post-Modernism

Styles and Movements in 20th-century Western Art

From David to Ingres

Early igth-century French Artists

From Monet to Cezanne

Late 19th-century French Artists

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The Grove Dictionary of Art

From Rembrandt to Vermeer

17th-century Dutch Artists

Edited by Jane Turner

From Rembrandt to Vermeer

Copyright © 2000 by Jane Turner

All rights reserved.No part of this book may be used or reproduced

in any manner whatsoever without written permission except in the
case of brief quotations embodied in critical article or reviews.
For information, address

St. Martin's Press. Scholarly and Reference Division

175 Fifth Avenue, New York. NT 10010

First published in the United States of America in 2000

Printed in the United Kingdom

ISBN: 0-312-22972-0

Library of Congress Cataloging-in-Publication Data

The Grove dictionary of Art. From Rembrandt to Vermeer : 17th<entury Dutch artists
edited by Jane Turner - (The GroveArt series)
Includes bibliographical references and index.
ISBN 0-312-22972-0 (cloth)
1. Art, Dutch. 2. Art. Modern - 17th-18th centuries - Netherlands.

I. Title: From Rembrandt to Vermeer.

II. Turner, Jane Shoaf. III. Series

N6946.G76 2000
759.9492 09 032-dc21 99-087772

vii Preface

ix Lis t of Con trib u tors

x General Abbreviations

xii A Note on the Use of the Book

1-410 From Rembrandt to Vermeer: 17th-century Dutch Artists

411 Black and White Illustration Acknowledgements

411 Colour Illustration Acknowledgements

412 appendix a: List of Locations

419 appendix b: List of Periodicals

422 appendix c: List of Standard Reference Books and Series


In these days of information glut, The Dictionary of Art has been a godsend, instantly
relegating all its predecessors to oblivion. Within
its stately thirty-four volumes (one for

the index), the territory covered seems boundless. Just to choose the most amusingly
subtitled of the series, Leather to Macho (vol. 19), we can learn in the first article not only
about the way animal skins are preserved, but about the use of leather through the ages,
from medieval ecclesiastical garments to Charles Eames's furniture. And if we then
move to the last entry, which turns out to be a certain Victorio Macho, we discover that
in the early 20th century, he graced Spanish cities with public sculpture, including a
monument to the novelist Benito Perez Galdos (1918) that many of us have passed by in
Madrid's Parque del Retiro. And should we wish more about Macho, there is the
to learn
latest biblio-graphical news, bringing us up to date with a monograph of 1987.
Skimming the same volume, we may stumble upon everything from the art of the
Lega people in Zaire and the use of artificial Lighting in architecture to somewhat more
predictable dictionary entries such as Lichtenstein, roy; London: Westminster abbey;
Lithography; or Los angeles: museums. If browsing through one volume of The Dictionary
of Art can open so many vistas, the effect of the whole reference work is like casting
one's net into the waters and bringing back an unmanageable infinity offish. Wouldn't
it be more useful at times to single out in one place some of the myriad species

swimming through the pages of The Dictionary? And then there is the question of cost
and dimensions. In its original, complete form, the inevitably stiff price and the sheer
size of all thirty-four volumes meant that it has fallen mostly to reference libraries to
provide us with this awesome and indispensable tool of knowledge.
Wisely, it has now been decided to make this overwhelming databank more
specialized, more portable, and more financially accessible. To do this, the myriad sands
have been sifted in order to compile more modest and more immediately useful single
volumes that will be restricted, say, to Dutch painting of the 17th century or to a survey
of major styles and movements in Western art from the Renaissance to the end of the
19th century. So, as much as we may enjoy the countless delights of leafing through the
thirty-four volumes in some library, we can now walk off with only one volume thai
suits our immediate purpose, an unparalleled handbook for a wide range of readers.
especially for students and scholars who, rather than wandering through the
astronomical abundance of art's A to Z, want to have between only two covers the latest
words about a particular artist or 'ism'.
The great art historian Erwin Panofsky once said There is QO substitute for
information'. This new format of The Dictionary of Art will help many generations meet
his sensible demands.

Henry Ittleson jr, Professor of Modern European An
Institute ofFine Arts
New York University

List of Contributors

Allen, Eva J. Luijten, Ger

Andrews, Keith Mcneil Kettering, Alison
Baer, Ronni Meij-Tolsma, Marijke Van Der
Beck, H.-U. Mens, Pierre F. M.
Berge-Gerbaud, Maria Van Meyere, A. L. De

Bogendorf Rupprath, C. Von Miller, Debra

Bos, Luuk Moltke, J. W Von
Broos, B. P. J. Muhlberger, Richard C.
Brown, Christopher Noldus, J. W
Brusati, C. Otten, M.J. C.
Bruyn, J. Rem, Paul H.
Chong, Alan Reznicek, E. K.J.

Cordingly, David Robinson, William W

Doring, Thomas Roy, Alain
Davies, Alice I. Royalton-Kisch. Martin
Dijk-Koekoek, H. G. Russell. Margarita
Domela Nieuwenhuis, Eric Sayre, Eleanor A
Donahue Kuretsky, Susan Schapelhouman, Marijn
Duparc, Frederik J. Schatborn, Peter
Ekkart, Rudolf E. O. Schnackenburg, B.

Franks, Wayne Schuckman, Christiaan

Gordon, George Schulz, Wolfgang
Grisebach, Lucius Scott, Mary Ann
Groot, Agnes Segal, Sam
Haberland, Irene Slatkes. Leonard J.

Harwood, L. B. L. Sluijter, Eric J.

Hensbroek-Van Der Poel, D. B. Sluijter-Seijffert, Nicolette C.

Hofrichter, Frima Fox Spicer.Joaneath A.

Honig, Elizabeth Alice Stampfle, Felice
Huysjanssen, Paul Steland, Anne Charlotte
Jansen, G. Sullivan, Scott A.
Jensen Adams, Ann Sutton, Peter C.
Kamp, Netty Van De Trezzani, Ludovica
Keyes, George S. Tumpel. Astrid
Kilian, Jennifer Vermet. Bernard
Lawrence, Cynthia Vries. Lyckle De
Leistra, J. E. P. Walsh. Amy I ..

Levine, David A. Wansink, C.J. A.

Liedtke, Walter Weller, Dennis P.

Limouze, Dorothy Wieseman, Marjorie I

Loughman, John Worm. Ingeborg

Lowenthal, Anne W. Zadelhoff. Trudy Van
General Abbreviations

The abbreviations employed throughout this book do not vary, except for capitalization,

regardless of the context in which they are used, including the bibliographical citations and
for locations of works of art. For the reader's convenience, separate full lists of abbreviations
for locations, periodical titles and standard reference books and series are included as

AD Anno Domini d died inc. incomplete

addn addition ded. dedication, incl. includes,
a.m. ante meridiem dedicated to including.
[before noon] dep. deposited at inclusive
Anon. Anonymous(ly) destr. destroyed Incorp. Incorporation
app. appendix diam. diameter inscr. inscribed,
Assoc. Association diss. dissertation Inscription
attrib. attribution, Doc. Document(s) intro. introduced by,
attributed to introduction
ed. editor, edited (by) inv. inventory
B. Bartsch [catalogue edn edition irreg. irregular(ly)
of Old Master eds editors
prints] eg- exempli gratia [for J
r junior
b born example]
bapt baptized esp. especially kg kilogram(s)
BC Before Christ est. established km kilometre(s)
bk,bks book(s) etc et cetera [and so on]
BL British Library exh. exhibition 1. length
BM British Museum lb, lbs pound(s) weight
bur buried f,ff following page, Ltd Limited
following pages
c. circa [about] facs. facsimile m metre(s)
can canonized fasc. fascicle m. married
cat. catalogue fd feastday (of a saint) M. Monsieur
cf. confer [compare] fig- figure (illustration) MA Master of Arts
Chap., Chap< figs figures MFA Master of Fine Arts
Chapter(s) fl floruit [he/she mg milligram(s)
Co. Company; flourished] Mgr Monsignor
County foL.fols folio(s) misc. miscellaneous
Cod. Codex, Codices ft foot, feet Mile Mademoiselle
Col., Cols Colour; mm millimetre(s)
Collection(s); g gram(s) Mme Madame
Column(s) gen. general Movt Movement
Coll. College Govt Government MS..MSS manuscript(s)
collab. in collaboration Gt Great Mt Mount
with, collaborated, Gtr Greater
collaborative N. North(ern):
Comp. Comparative; h. height National
compiled by, Hon. Honorary. n. note
compiler Honourable n.d. no date
cont. continued NE Northeast(ern)
Contrib. Contributions, ibid. ibidem [in the nn. notes
Contributor(s) same place] no., nos number(s)
Corp. Corporation, i.e. id est [that is] n.p. no place (of
Corpus illus. illustrated, publication)
Corr. Correspondence illustration nr near
Cttee Committee in., ins inch(es) n. s. new series
inc. Incorporated NW Northwest(ern)
General Abbreviations

Occas. Occasional red. reduction, Santissimi

op. opus reduced for St Saint, Sankt,
opp. opposite; opera reg regit [ruled] Sint, Szent
[pi.of opus] remod. remodelled Ste Sainte
oz. ounce(s) repr. reprint(ed); suppl., suppl ssupplement(s),
reproduced, supplementary
p pence reproduction SW Southwest(ern)
p., pp. page(s) rest. restored,
p.a. per annum restoration trans. translation,
Pap. Paper(s) rev. revision, revised translated by;
para. paragraph (by/for) transactions
pi. plate; plural Rev. Reverend; transcr. transcribed
pis plates Review by/ for
p.m. post meridiem
[after noon] S San, Santa, unpubd unpublished
Port. Portfolio Santo, Sant',
Posth. Posthumous(ly) Sao [Saint] V verso
prev. previous(ly) S. South(ern) var. various
priv. private SE Southeast(ern) viz. videlicet
pseud. pseudonym sect. section [namely]
Pt part ser. series vol., vols volume(s)
pubd published sing. singular vs. versus
pubn(s) publication(s) sq. square
SS Saints, Santi, W. West(ern)
R reprint Santissima, w. width
r recto Santissimo,

Note on the Use of the Book

This note is intended as a short guide to the basic editorial conventions adopted in this book.

Abbreviations in general use in the book are listed on p. x; those used in bibliographies and
for locations of works of art or exhibition venues are listed in the Appendices.

Author's signatures appear at the end of the articles. Where an article was compiled by the
where an author has wished to remain anonymous, this is indicated
editors or in the few cases
by a square box () instead of a signature.

Bibliographies are arranged chronologically (within a section, where divided) by order of

year of first publication and, within years, alphabetically by authors' names. Abbreviations
have been used for some standard reference books; these are cited in full in Appendix C.
titles are in Appendix B. Abbreviated references to alphabetically
Abbreviations of periodical
arranged dictionaries and encyclopedias appear at the beginning of the bibliography (or

Biographies in this dictionary start with the subject's name and, where known, the places
and dates of birth and death and a statement of nationality and occupation. In the citation of
a name in a heading, the use of parentheses indicates parts of the name that are not
commonly used, while square brackets enclose variant names or spellings.
Members of the same family with identical names are usually distinguished by the use of
parenthesized small roman numerals after their names. Synonymous family members
commonly differentiated in art-historical literature by large roman numerals appear as such in
this dictionary in two cases: where a family entry does not contain the full sequence (e.g. Karel
van Mander I and Karel van Mander III); and where there are two or more identical families
whose surnames are distinguished by parenthesized small roman numerals (e.g. Velde, van de
(i) and Velde, van de (ii)).

Cross-references are distinguished by the use of small capital letters, with a large capital
to indicate the initial letter of the entry to which the reader is directed; for example, 'He
commissioned Leonardo da vinci...' means that the entry is alphabetized under T. Given the
comprehensiveness of this book, cross-references are used sparingly between articles to guide
readers only to further useful discussions.
Aelst, Willem van 1

Aelst, Willem van the bouquet, a new idea in flower painting, and
(b Delft, 1627; d ?Amsterdam, after 1687). Dutch one soon taken up by many other painters.
painter. He specialized in still-lifes, as did his Van Aelst also specialized in still-lifes with
uncle and teacher Evert van Aelst of Delft game, at least 60 of which survive, painted
(1602-57), whose name survives only in invento- between 1652 and 1681. A comparison between
ries and who died in poverty. Willem's earliest one of the earliest dated examples (1653; destr.

known work, a Still-life with Fruit (1642; destr., World War II, ex-Kaiser-Friedrich Mus., Berlin,
ex-Suermondt-Ludwig-Mus., Aachen), is likely to see Sullivan, fig. 100) and his latest known work.
have been influenced by his uncle's style. On Still-life with Dead Cocks (1681; sold The Hague,
9 November 1643 he enrolled in the Delft Van Marne & Bignall, 27 Jan 1942. lot 2; see
painters' guild and from 1645 to 1649 was in Sullivan, fig. 105), shows that his successful
France, where he painted the Still-life with Fruit formula was established early and remained vir-

(1646; Stockholm, E. Perman priv. col.). From 1649 tually unchanged for over 30 years. At the centre

to 1656 he worked in Florence as court painter to of both is a marble tabletop on which birds and
Ferdinando II de' Medici, Grand Duke of Tuscany. hunting accessories are displayed, the vertical

There he met his fellow countrymen Matthias element provided by a bird hanging down over the
Withoos and Otto Marseus van Schrieck, the latter table. Certain items associated with hunting
also a still-life painter, who probably influenced (game bag, bird net, hunting horn, falcon's hoods
van Aelst's detailed and smooth style, and with and quail pipes) are always included, yet the com-
whom van Aelst returned to the Netherlands positions are individually varied, and the skilful
in 1656— first briefly to Delft before settling in style of painting makes each one a pleasure to look

Amsterdam in 1657. Van Aelst's usual signature on at (e.g., 1664, Stockholm, Nmus.; 1668, Karlsruhe,
paintings, Guill[er]mo van Aelst, recalls his stay in
Italy, as does the (occasional) use of his bent-name
'Vogelverschrikker' (scarecrow), which appears,
for example, on a Still-life with Poultry (1658;
Amsterdam, Rijksmus.).
Van Aelst became famous for his ornate still-

lifes with fine glassware, precious silver goblets,

fruit and flowers (see fig 1). They are unparalleled

in the rendering of surfaces and characterized by
a bright, sometimes rather harsh colour scheme.
His Still-life with Shell (1659; Berlin, Bodemus.)
demonstrates that, although he was influenced by
Willem Kalf, he preferred sharply outlined forms
and more striking colour contrasts. His connec-
tion with Amsterdam is especially evident in the
flower still-lifes painted between 1659 and 1663,
such as Still-life with Flowers in a Niche (1662;
Rotterdam, Boymans-van Beuningen) and Still-life

with Flowers and a Watch (1663; The Hague,

Mauritshuis), in which the ear-shaped vases can
be recognized as the work of Johannes Lutma,
a famous Amsterdam silversmith. As well as a

subtle combination of bright colours and the use

of striking light effects, the Mauritshuis painting 1 Willem v.m Aelst: Still-life [S\ Petersburg. Hermitage
is remarkable for its asymmetrical arrangement of Museum)
2 Aelst, Willem van

Staatl. Ksthalle; 1671, The Hague, Mauritshuis). His broad panoramas, river views with bridges and
pupils included Maria van Oosterwijck in Delft quays, and picturesque seaports. Coarsely realistic

and Rachel Ruysch in Amsterdam. figures, whose prototypes occur in his earlier

cavalry scenes, animate these landscapes; whereas

Bibliography initially they are small and wildly gesticulating,
S. A. Sullivan: The Dutch Gamepiece (Totowa and later, better modelling gives them a degree of
Montclair, NJ, 1984). PP- 52-4. 97 authority. His sensitive evocation of idyllic south-
Great Dutch Paintings from America (exh. cat.; The ern sunlight, as in Landscape with the Ruins of
Hague, Mauritshuis; San Francisco, F.A. Museums;
an Aqueduct (1646; Rome, Accad. N. S Luca), has
1990-91), pp. 130-33. no. 1
much in common with Jan Both's manner.
Yet although his works are apparently related
stylistically to those of Claude Lorrain and
Herman van Swanevelt, he did not adhere to their
Asselijn [Asselein; Asselin; Asselyn], Jan invented Arcadian imagery, preferring the actual
[Janus; Jean] Campagna for his naturalistic presentations of

(b Dieppe, after 1610; d Amsterdam, 1652). Dutch ruins, figures and the countryside.
painter and draughtsman, of French descent. With On Asselijn's journey back to the northern

Jan Both and Jan Baptist Weenix, he was one Netherlands, he stayed c. 1644-5 in Lyon, where
of the most important artists of the second gen- he married Antoinette Huaart [Houwaart], and in
eration of Dutch Italianates. The Asselin family 1646 in Paris, where he provided three paintings
moved from Dieppe Amsterdam c. 1621 and
to (Paris, Louvre) for the decoration of the Cabinet
adopted the Dutch spelling of their surname after d'Amour in the Hotel Lambert. Shortly after his

1650. Of Jan's three brothers, Abraham Asselijn return to Amsterdam, aged between 35 and 40, his
(1609-97) became a goldwire-maker. In Amsterdam portrait was etched by Rembrandt (c. 1648; b. 277).

Jan studied with Jan Martszen the younger (c. He continued to produce Italianate works, such as

1609-after 1647), Esaias van de Velde's nephew and Panoramic Landscape (c. 1649; Vienna, Akad. Bid.
follower, a specialist in depicting battle scenes Kst.), with characteristically warm colours and
with cavalry. Asselijn's early works, such as Battle careful attention to naturalistic detail. In addi-
Scene (1634; Brunswick, Herzog Anton Ulrich- tion, between 1647 and 1652 he painted Dutch sub-
Mus., see Steland-Stief, 1971, pi. VIII), show this jects, such as the Collapse of the St Anthonis Dike,
influence. 1651 (Schwerin, Staatl. Mus.), Repair of the St
Shortly after November 1635 Asselijn travelled, Anthonis Dike, 1652 (Berlin, Gemaldegal.) and the
probably via France, to Rome, where he became Frozen Moat outside City Walls (Worcester, MA, A.
a member of the Schildersbent, the association Mus.). In his earlier works Asselijn tended to apply

of northern artists in Rome (a counterproof of the paint thickly; around 1650 his palette became
his drawing of some of the members, the lighter and clearer and he painted more smoothly,
Bentvueghels, is in Berlin, Kupferstichkab.). creating broader, occasionally summary effects.

According to Houbraken, his bent-name was This change, perhaps prompted by Weenix, clearly
'Krabbetje' (Little Crab) on account of his crippled acknowledged the market's taste for a more dec-
left hand. He was in Rome for about seven years, orative style. (His paintings on copper, however,
where his principal influences up to c. 1641 were have an enamel-like quality.)
the paintings of Pieter van Laer, Jan Both and was also a prolific draughtsman. His
Andries Both. He drew and painted copies and vari- sketches,done both from nature and in the studio,
ants of their compositions, depicting everyday life include Roman ruins, buildings and landscapes.
in Rome, either outdoors or in rocky grottoes. He The 11 surviving preparatory drawings of ruins
went on to select his own subject-matter, chiefly Aqueduct at Frascati, New York, Pierpont

landscapes with ruins, herdsmen and animals, Morgan Lib.) for the series of 18 engravings by
Ast, Balthasar van der 3

Gabriel Perelle (Hollstein, nos 15-32) repeat sub- Mus., 1965); rev. and trans, as Dutch 17th-century

jects found in a Roman sketchbook (dispersed, e.g. Italianate Painters (Soest. 1978). pp. 129-44

Temple of the Sibyl at Tivoli, Darmstadt, Hess. A. C. Steland-Stief: 'Jan Asselijn und Karel Dujardin'.

Landesmus.). Eight pages of a second sketchbook Raggi, vii (1967). pp. 99-107
E. Knab: 'De genio loci'. Miscellanea J. Q. van Regteren
are also preserved (London, BM). His architectural
Altena (Amsterdam, 1969)
drawings display an unassuming naturalism and
A. C. Steland-Stief: Drei Winterlandschaften des
painstaking observation and representation of
Italianisten Jan Asselijn und ihre Auswirkungen". Kst.
space, form, surface and atmosphere. He applied Hessen & Mittelrhein. x (1970). pp. 59-65
grey washes over pencil or chalk on white paper, — .Jan Asselijn: Nach 1610 bis 1652 (Amsterdam. 1971)
sometimes adding white highlights, covering most — : 'Zum zeichnerischen Werk des Jan Asselijn'. Oud-
of the surface of the paper. He also made compo- Holland, xciv (1980), pp. 213-58

sitional studies in either black and white chalk on — : 'Zu Willem Schellinks' Entwicklung als Zeichner:

blue paper, grey or brown wash, opaque white or

Friihe Zeichnungen der Frankreichreise um 1646 und
die Ausbildung zum Italianisten in der Nachfolge des
sometimes pen and ink. The earlier studies, based
Jan Asselijn', Niederdt. Beitr. Kstgesch., xxv (1986).
on van Laer and Andries Both, add elements
pp. 79-108
from his cavalry subjects (e.g. Departure for the — : 'Beobachtungen zur fruhen Zeichnungen des Jan Both
Hunt, Brussels, Mus. Royaux A. & Hist.). Later, he und zum Verhaltnis zwischen Jan Both und Jan
developed his own rapid ideas, with energetic Asselijn in Rom vor 1641'. Niederdt. Beitr. Kstgesch..
outlines on blue paper (e.g. Amsterdam, Rijksmus.; xxvii (1988), pp. 115-38

Hamburg, Ksthalle; Dresden, Kupferstichkab.; — : Die Zeichnungen des Jan Asselijn (Fridingen, 1989)

Leiden, Rijksuniv., Prentenkab.). In addition, ANNE CHARLOTTE STKLAND

he drew highly detailed preparatory sketches
for paintings, both types probably inspired by
Claude's drawings on blue and white paper in the Ast, Balthasar van der
Liber veritatis (1636; London, BM). (b Middelburg, 71593-4: d Delft, bur 19 Dec 1657).
During his lifetime, Asselijn's closest follower Dutch painter. He was the brother-in-law of
was Willem Schellinks, and, according to Ambrosius Bosschaert, whose household he-

Houbraken, Frederick de Moucheron was his pupil. entered in 1609, after the death of his lather He
Others who were influenced by him include Adam remained as Bosschaert's pupil, until he was 21.

Pijnacker, Nicolaes Berchem, Karel Dujardin and In 1615 van der Ast moved with the Bosschaert
Thomas Wijck, who adopted architectural motifs family to Bergen-op-Zoom. However, a year later
from the Roman studies, as well as Allaert van the Bosschaerts were living in Utrecht, but van del
Ererdingen, who adopted the waterfall subjects. Ast is not recorded there until 1619, when he was
entered as a master in the Guild ol Si I tike He-

Bibliography remained in Utrecht until 163a, then lived m

Hollstein: Dut. & Flem. Delft, where he enrolled m the painters' guild on

J. von Sandrart: Teutsche Academie (1675-9); ed. A. R. 22 June 1632. On 2(1 February 1633 he married
Pelzer (1925), p. 182 Margrieta fans \\\n Bueren in Delft, where be
A. Houbraken: De groote schouburgh (1718-21). ii. p. 327: spent the rest ol his career; tiu- marriage produced
iii. p. 64 two children.
A. von Bartsch: Le Peintre-graveur (1803-21) |b.|
what Bol has tailed the
Van tier Ast belonged tO
J. Kusnetsow: Tableau de la jeunesse de Jan Asselijn au
Bosschaert dynasty: like his brother-in-law. he
Musee de l'Hermitage', Bull. Mus. Ennitage, \\v (1958).
painted predominantly 1 lower And I run stilMiles.
PP- 34-7
but as a new element he also painted shell Still-
A. C. Steland-Stief: 'Jan Asselijn und Willem Schellinks'.

Oud-Holland, lxxix (1964). PP- 99~iio

htes. which probably reflected the fashion for

Nederlandse iye eeuwsc Italiaanisierende landschap- collecting exotic rarities, iiis oeuvre ol c. 200
schilders (exh. cat., ed. A. Blankert; Utrecht. Cent. paintings is considerably larger than that of his
4 Ast, Balthasar van der

teacher Bosschaert. However, the chronology of Bibliography

van der Ast's work is more difficult to establish: L. J. Bol: 'Bartholomaeus Assteijn', Oud-Holland, lxviii

there are dated works only from 1620-28. (1953). PP- 136-48

Moreover, his compositions are more diverse, with — : 'Een Middelburgse Breughel-Groep, Teil III', Oud-
Holland, lxx (1955). PP- 138-54
fewer exact repetitions, and were carried out in a
wider variety of formats, ranging from small
— : The Bosschaert Dynasty (Leigh-on-Sea, i960), pp. 36-40
Mitchell: European Flower Painters (London, 1973)
copper paintings of c. 500 mm
to canvases of 2 m.

I. Bergstrbm: 'Baskets with Flowers by Ambrosius

Van der Ast's earliest works are clearly influ-
Bosschaert the Elder and their Repercussions on the
enced by the flower still-lifes of his nephew Art of Balthasar van der Ast', Tableau, vi (1983).

Ambrosius Bosschaert: usually they show a rich, pp. 72lff

vertically composed, symmetrical bouquet, the Masters of Middelburg (exh. cat., Amsterdam, Waterman
longitudinal axis being emphasized by a large Gal., 1984), pp. 45-62
leading flower, such as a tulip or an iris, and the M.-L. Hairs: Les Peintres flamands de fleurs au XVlle siecle

lower arrangement filled with roses, peonies, car- (Brussels, 1985). PP- 130-31

nations or asters. The bouquet, in an elegant vase IRENE HABERLAND

of porcelain or glass before an open or closed back-
ground, is composed of flowers from different
seasons, based on individual studies from nature Avercamp
(e.g. Vase with Flowers and Shells, 1628; Madrid, Dutch family of painters and draughtsmen.
Mus. Thyssen-Bornemisza). What is also new in his

work is the importance attached to realistically (1) Hendrick (Barentsz.) Avercamp [de Stomme
depicted animals, lizards, grasshoppers, toads or van Kampen]
flies, used as accessories flanking the flowers and (bapt Amsterdam, 27 Jan 1585; bur Kampen, 15
probably inspired by the work of Roelandt Savery May 1634). He was the first artist in the northern
(e.g. Bouquet before a Landscape, 1624; priv. col., Netherlands to paint winter landscapes. Before
see 1984 exh. cat., no. 13). Also novel, and clearly him only a few Flemish artists, among them Pieter

distinguishable from the work of his teacher, are Bruegel I and his sons, and Jacob Grimmer, had
van der Ast's depictions of individual flowers made winter scenery the main subject of their
shown in a vase (e.g. Tulip in a Glass Vase, ex-art work. Avercamp created a new genre of Dutch
market, Solingen, 1980; see 1984 exh. cat., no. 15) painting by combining the panoramic scope,
and the 'still-lifes' of single flowers lying on a bright colours and high vantage point of these
board or table (e.g. Tulip and Forget-me-not, priv. Flemish models with an emphasis on anecdotal
col., see 1984 exh. cat., no. 16). In composition and detail.

conception, these paintings anticipate the work of

such artists as Jan van Kessel and Adriaen Coorte. 1. Life and work
Van der Ast's fruit still-lifes are often shown (i) Paintings. In 1586 the Avercamp family moved to
together with such non-European rarities as Kampen, where Hendrick's father had been
Chinese porcelain or parrots (e.g. Flowers and appointed a pharmacist. Hendrick was deaf-mute
Fruits with a Parrot, Amersfoort, Mus. Flehite). His from birth, and throughout his life was commonly
shell still-lifes are painted in a monochrome known by his nickname 'de Stom', or 'de Stomme'
manner, which creates a unified composition and (Dut.: 'the mute'). It is generally assumed that he
palette, despite the diversity of the objects was a pupil of the history and portrait painter
depicted (e.g. Still-life with Shells, Fruit and Red Pieter Isaacsz., in whose house in Amsterdam he
Currant Branch, Dresden, Gemaldegal. Alte was presumably living in 1607. This is inferred
Meister). His brother Johannes van der Ast was from a reference to 'the mute [who lives] at Pieter

also a flower painter and probably a pupil of Isacqs's', documented as one of the buyers at a sale
Ambrosius Bosschaert the elder. on 3 March 1607. During this period of training
Avercamp: (1) Hendrick Avercamp 5

in Amsterdam Avercamp must have come across

the work of Flemish landscape painters, including
Hans Bol, Gillis van Coninxloo and David
Vinckboons, who had fled to Amsterdam when
Antwerp once again fell to the Spanish in 1585. He
may have seen some of their drawings and paint-
ings, but in any case was familiar with engravings
made after their work. The high horizon and the
use of trees and houses as devices to balance
the composition in early works, for example the
Winter Landscape of before 1610 (Vienna, Ksthist.

Mus.; see col. pi. I), clearly reveal their influence.

In the Winter Landscape of 1609 (ex-Col. Thyssen-

Bornemisza, Lugano) the horizon is much lower,

and the composition is simpler with fewer details.
Although the interval between the two pictures
was only a between them is
year, the difference
2. Hendrick Avercamp: Winter Scene with Skaters near a
considerable, leading some scholars (e.g. Blankert) Castle (London, National Gallery)
to assert that Avercamp underwent a very rapid
development in this period, while others (e.g.

Stechow) have used these two works as evidence figures. According to Kampen's city records.

of the difficulty of establishing a chronology Hendrick Avercamp was paid in 1622 for painting

within Avercamp's oeuvre. two horses in the municipal stables, one of the
There are only a few reliably dated pictures few occasions on which he is mentioned in offi-

after 1609, but it seems clear that in the later cial documents. He probably lived in retreat

works the Flemish influence becomes less notice- because of his disability.

able; the horizon tends to be lower, the perspec-

tive is suggested in a more natural way and the (ii) Drawings. Hendrick Avercamp was a prolific

figures are grouped together more coherently. A draughtsman. Some of his drawings are figure
good late example is the multi-figured Winter studies for paintings, such as the Standing
Landscape with a Brewery (c. 1615; London, N.G.). Gentleman Highxrowned H<n. one ol the
in a

In this work the horizon is low, and the colours many examples of Avercamp's work at the Royal
suggest the wintry atmosphere remarkably well. Library, Windsor Castle, Berks. Others, for exam-

A characteristic of Hendrick Avercamp's paintings ple Winter Landscape (Haarlem, (eylers Mus.), are
is that the figures are the centre of attention; as fully worked out aiui m
hiv detailed as ins paint-

although usually numerous, they are skilfully ings .md were probably intended for sale. Most ol

arranged (see fig. 2). Hendrick was a sharp observer these drawings were executed in Hendrick's pre-

of people, capturing their pose, dress, status and ferred technique ol pen and watercolour.
occupation. Once he had determined the details in contrast to the paintings, there is a consid-

of a particular figure, or group of figures, they erable number ol extant drawings dating from

entered his repertory and were repeated often in afu-r 1609. in 161a Gaes [ansa. Visscher I made lis

both his paintings and his drawings. Although engravings after drawings by Hendrick Avercamp
Hendrick is best known for his winter scenes, he showing summer landscapes strongly reminiscent
also painted a number of summer landscapes, such of the Flemish countryside, hut with c lassical

as River Landscape (Enschede, Mrs van Heek-van ruins Tin- drawings tor these engravings may have
Hoorn priv. col.), which has a fortress at the left been made before 161a (Blankert). it seems that
and various boats on the river, but remarkably few Hendrick Avercamp returned to Kampen no later
6 Avercamp: (i) Hendrick Avercamp

than 1613, as can be deduced from an inscription of Hendrick Avercamp. Little is known about these

on his Oval River Landscape with Old Buildings painters, their oeuvre and their relationship with
(Paris, Fond. Custodia, Inst. Neer.). Written in an Hendrick Avercamp, and undoubtedly there are
old hand, probably that of the purchaser at the still paintings by them, as well as by Barent,

time, it states that the drawing was bought on among the works presently ascribed to him.

28 January 1613 from Hendrick Avercamp in

Kampen. The drawing, showing a summer land- (2) Barent Avercamp

scape, is very close to the engravings by Visscher (b Kampen, 1612/13; bur Kampen, 24 Oct 1679).

and was possibly made in 1612 or earlier. Later Nephew of (1) Hendrick Avercamp. Barent
drawings include a sheet that has always been Avercamp lived in Kampen for most of his life but
thought to represent The 1J in Winter but is spent extended periods in Zwolle (71615-26) and
probably actually a view of Kampen (1620; Zutphen (71640-50). He probably learnt how to

Amsterdam, Rijksmus.) and Water Landscape paint from his uncle. He held many public posi-
(1624; Amsterdam, Rijksmus.). tions, notably one in the Guild of St Luke, Kampen,
It is generally assumed that Hendrick passed and worked in various other capacities, including
most of his life in Kampen, although he was long as a lumber merchant. For a long time, though his

thought to have undertaken a journey to the artistic activities were known from archival doc-
Mediterranean. This assumption was based on a uments, his paintings were generally attributed to

number of drawings, formerly attributed to him, his uncle. A small group was ascribed to Barent
of southern landscapes, resembling his early draw- Avercamp in the early 1920s by Welcker, who pro-

ings of Flemish landscapes with Classical ruins. posed that paintings dated after 1634 or signed
Welcker convincingly reattributed these to Gerrit Avercamp' or 'B. Avercamp' should be attributed
van der Horst (1581/2-1629), a wine merchant who to Barent instead of to Hendrick Avercamp.
lived in Kampen from 1609. In 1610 Claes Jansz. Barent was less talented than his uncle. His
Visscher made an engraving after one of these figures, on occasion borrowed from his uncle's

drawings. paintings, are sometimes wooden and often rather

arbitrarily arranged. The transition from fore-

2. Critical reception and posthumous reputation ground to more abrupt and effected
background is

During his life Hendrick Avercamp's paintings by rather obvious devices (e.g. a bank in the fore-
were already much sought after and commanded ground). Another characteristic of his work is that
high prices. Before Welcker's archival research, some of the figures wear clothes that came into
which established when Hendrick was buried, he fashion c. 1650. His paintings frequently show
was believed to have died at a much later date, people playing an outdoor game called 'kolf
and such paintings as the View of Kampen (1663) wearing big hats, flat collars (usually tasselled)

were thought to be by him. The weaker quality of and boots with large flaps, for example Fun on the
this work and a small number of others was cred- Ice near Kampen (1654; Atlanta, GA, High Mus. A.).

ited to Avercamp's increasing age and inability to One of his best-known paintings is the large
keep up the high standards of the earlier work. As Winter Landscape near Kampen (1663; Kampen,
Hendrick signed his work with the monogram ha, Stadhuis). There are only two drawings that can
Welcker concluded that the paintings bearing be attributed to Barent Avercamp with certainty.
the signature Avercamp' or 'B. Avercamp' and/or Fishermen Pulling in Nets (1654: Hamburg,
those dated after 1634 should be attributed to Ksthalle) and Two Married Couples (1650; sold
his nephew (2) Barent Avercamp. Paintings by London, Sotheby's, 27 June 1974. lot 120).

artists such as Arent Arentsz. (nicknamed 'Cabel';

1585-before Oct 1635), Adam van Breen [fl Bibliography
1611-29) and Anthonie Verstralen (1593/4-1641 ) all C.J. Welcker: Hendrick Avercamp, 1585-1634. bijgenaamd
resemble, to a greater or lesser extent, the works 'de Stomme van Campen' en Barent Avercamp,
Baburen, Dirck van ~

1612-1679: 'Schilders tot Kampen' [Hendrick recorded as living in the same house in the Roman
Avercamp, 1585-1634. nicknamed "the mute from parish of S Andrea delle Fratte. Caravaggio's close
Kampen' and Barent Avercamp. 1612-1679: "Painters in follower and presumed student. Bartolomeo
Kampen') (Zwolle. 1933. rev. 1979) Manfredi. was living in the same parish in 1619.
W. Stechow: Dutch Landscape Painting of the Seventeenth
Van Baburen must have known the works of
Century (London, 1966), pp. 5, 82-7
Manfredi— if not the artist himself— for both ver-
A. Blankert: 'Hendrick Avercamp'. Frozen Silence (exh.
Crowned with Thorns (c. 1621-2:
sions of his Christ
cat., Amsterdam, Waterman Gal.. 1982). pp. 15-36
Utrecht. Catharijneconvent. and Kansas City. MO.
D. B. Hensbroek-van der Poel: 'Barent Avercamp (1612-79)'.
Frozen Silence (exh. cat., Amsterdam. Waterman Gal.,
Nelson-Atkins Mus. A.i are deeply indebted to

1982). pp. 57-62 Manfredi's interpretation of Caravaggio's style and

D. B. HENSBROEK-VAN DER POEL subject-matter. In Rome van Baburen attracted the
patronage of Vincenzo Giustiniani. for whom
he executed a large Christ Washing the Feet of
the Apostles (Berlin. Gemaldegal.). and Cardinal
Baburen, Dirck (Jaspersz.) van Scipione Borghese. for whom he painted an Arrest
\b Wijk bij Duurstede, nr Utrecht, c. 1594-5: d of Christ (Rome. Gal. Borghese).
Utrecht, 21 Feb 1624). Dutch painter. His father, The date of van Baburen's return to Utrecht
Jasper van Baburen (d 71599), had been in from Italy has been the subject of some contro-
the service of Geertruijd van Bronckhorst van versy. That he may still have been in Italy in 1622
Battenburg, Baroness \vrijvrouw) of Vianen, is suggested by the existence in various Italian col-

Viscountess burggravin) of Utrecht, and thus Dirck

lections of versions of his signed and dated Christ
must have received a better than average educa- among the Doctors (1622; Oslo. N.G.). However, the

tion, a fact at least partially confirmed by the autograph replica formerly in the Mansi collec-

innovative and often literary nature of his subject- tion, Lucca, entered the Italian collection only

matter. In 1611 he is recorded as a pupil of the in 1675 as part of the dowry brought through
portrait and history painter Paulus Moreelse in marriage with a member of the Amsterdam van
Utrecht. It is likely that this was the last year of Diemen family. It is likely that van Baburen had
his apprenticeship. Van Baburen probably left for already returned to Utrecht by 1622. most proba-
Italy shortly after 1611. for a document rediscov- bly during the summer of 1620. before the resump-

ered in the late 1980s records a signed and dated tion of hostilities brought about by the end of the
altarpiece of the Martyrdom of St Sebastian Twelve Years' Truce in 1621. This seems to be

(1615; untraced), executed for a church in Parma. confirmed by the inquiry held in August 1622

His most important pictures made in Italy were following David de Haen's death in the Palazzo
painted in collaboration with David de Haen Giustiniani. Rome: van Baburen ther

(d 1622) for the Pieta Chapel of S Pietro in Montorio, present nor mentioned in the proceed
Rome, which was decorated between 1615 and 1620. Moreover, his Youth Playing a Small Whistle 1621: 1

Van Baburen's paintingsfor the chapel were men- Utrecht. Cent. Mus.), with its Style and cool colours
tioned by Giulio Mancini in his manuscript notes. that appealed to northern taste, and its secular

Considerazioni sulla pittura [c. 1619-201: there subject-matter, could only have been painted at tor

Mancini claims the was 22 or 23 years old

artist his return to Utrecht. This halt-length, artificially

when he carried out the commission. One of his illuminated figure mav bo tho first theatrical

best-known works, the Entombment (formerly musician painted in Utrecht. It playod an impor-

dated 1617), is still in situ on the altar of the tant role in the dovolopmont of tho theme,

chapel. This much-copied composition reveals van which was explored lucn Utrecht sj

Baburen's close study of Caravaggio's famous waham Btoemaert Cerril van Honthorst and
fnrombmen r (Rome. Pin. Vaticana). In 1619 and the Hendrick tor Brugghen and later spread through-

spring of 1620 van Baburen and de Haen were out the northern Netherlands.
8 Baburen, Dirck van

Van Baburen was closely associated with the (IX. iv) stressed the role of painting in strengthen-

artists known as the Utrecht Caravaggisti, espe- ing moral character, in this case filial piety, and
cially with Hendrick ter Brugghen. It is likely that thus it seems likely that van Baburen was drawn
van Baburen and ter Brugghen shared a common to the unusual theme because of these associa-
workshop with and students who drew
assistants tions. The moralizing content of such genre paint-

upon the innovations of both artists. Van Baburen ings as the Backgammon Players and the Procuress

quickly became one of the most important early Scene helped to prepare the way for later moral-
iconographic innovators in Utrecht, if not the izing traditions in Dutch genre art.

Netherlands. In addition to single-figured, the-

atrical musicians, van Baburen also painted a Bibliography

variety of pictures that established new stylistic P. T. A. Swillens: 'De schilder Theodorus (of Dirck?) van
Baburen', Oud-Holland, xlviii (1931), pp. 88-96
and iconographic patterns in genre and history
A. von Schneider: Caravaggio und die Niederlander
painting, and these ideas were quickly taken up
(Marburg, 1933)
by other members of the Utrecht Caravaggisti. For
B. Nicolson: 'A Postscript to Baburen', Burl. Mag., civ
instance his compact, three-figured Procuress
(1962). pp. 539-43
Scene (1622; Boston, MA, Mus. F.A.)— perhaps the
L. J. Slatkes: Dirck van Baburen (diss., U. Utrecht, 1962)
painting owned by Vermeer's mother-in-law that — : Dirck van Baburen (c. 1595-1624): A Dutch Painter in
appears in the background of two pictures by the Utrecht and Rome (Utrecht, 1965)
Delft artist— introduced into the vocabulary of — : 'David de Haen and Dirck van Baburen in Rome',
Utrecht art an updated Caravaggesque version of Oud-Holland, lxxx (1966), pp. 173-86

an old northern moralizing theme associated with — : 'Additions to Dirck van Baburen', Album amicorum
the parable of the Prodigal Son. Van Baburen also J. G. van Gelder (The Hague. 1973). PP- 267-73
B. Nicolson: The International Caravaggesque Movement
executed the earliest version of what quickly
(Oxford, 1979); review by L. J. Slatkes in Simiolus, xii
became one of the most popular Dutch pastoral
(1981-2), pp. 167-83
themes, Granida and Daifilo (1623; New York,
Hollandische Malerei in neuem Licht: Hendrick ter
priv. col., see 1986 exh. cat., no. 37), which is
Brugghen und seine Zeitgenossen (exh. cat., ed. A.
based upon an episode from P. C. Hooft's famous Blankert, L. J. Slatkes and others: Utrecht, Cent. Mus.;
play Granida. Van Baburen also produced impor- Brunswick, Herzog Anton Ulrich-Mus.; 1986)
tant moralizing genre subjects such as his LEONARD SLATKES
Backgammon Players, of which there are at least
three versions (e.g. c. 1622; New York, priv. col., see

Slatkes, 1965, fig. 24). One of his most important

innovations is in the area of religious art, where Backer, Jacob (Adriaensz.)
he depicted, shortly before his death, St Sebastian (b Harlingen, 1608; d Amsterdam, 26 Aug 1651).
Tended by Irene (Hamburg, Ksthalle). This new Dutch painter and draughtsman. In 1611 his
compassionate rendering of the saint— the first in father, a Mennonite baker, left Friesland and
the north-caught on immediately in Utrecht, settled in Amsterdam. Jacob Backer returned to
where it was taken up first by Jan van Bijlert in Friesland in 1627 to study under Lambert Jacobsz.,
1624 (Rohrau, Schloss) and then by Hendrick ter a history painter of biblical scenes who was
Brugghen an important monumental composi-
in originally from Amsterdam and had settled in
tion of 1625 (Oberlin, OH, Allen Mem. A. Mus.). Leeuwarden, capital of Friesland, about 1620.
Van Baburen also painted large mythological Jacobsz. was a lay preacher of the Mennonite con-
paintings, such as Prometheus (1623; Amsterdam, gregation in Leeuwarden and was also an art
Rijksmus.), as well as an impressive Cimon and dealer who sold, among other items, works by or
Pero (Roman Charity) (York, C.A.G.), based on an after Rembrandt. In Jacobsz. 's studio Backer was a
episode in Valerius Maximus's Factorum et dicto- fellow pupil with Govaert Flinck, who was seven
rum memorabilium (31 bc). Valerius Maximus years his junior. In 1633 Flinck and Backer went
Backer, Jacob 9

together to Amsterdam, where Flinck alone model in allegorical or pastoral representations.

entered Rembrandt's studio. The tradition, dating The paintings of Taste (Berlin, Gemaldegal.) and
back to Houbraken, of referring to Flinck and Hearing (Budapest. Mus. FA.) are examples of such
Backer together as Rembrandt's pupils is persis- allegories. The free handling in the Self-portrait
tent but mistaken; Bauch perpetuated the error in as a Shepherd seems to have been inspired by the
the subtitle of his monograph on Backer. work of Frans Hals, but the subject and composi-
Soon after his arrival in Amsterdam, Backer tion show Backer to have been aware of similar
received his first important commission, for a allegorical half-length figures by Italian painters
group portrait of the Governesses of the Civic as well as variations on them by the Utrecht
Orphanage ofAmsterdam (Amsterdam, Hist. Mus.). Caravaggisti.
This is one of the most famous Amsterdam group In 1642 Backer painted the Militia Company
portraits, with its balanced composition and mas- of Capt. Cornells de Graeff and Lt He nd rick
terly treatment of light. In his history paintings Lawrensz. (Amsterdam, Rijksmus.i for the Great
Backer was strongly inspired by Flemish examples Hall at the Kloveniersdoelen. for which Rembrandt
rather than by Rembrandt, evident, for example, supplied 'The Sightwatch' Amsterdam, Rijksmus.i 1

in the large canvas of John the Baptist Rebuking as a pendant. Backer's is painted in a sober and
Herod and Herodias (1633; Leeuwarden, Fries matter-of-fact style, while Rembrandt's is more
Mus.), which demonstrates Backer's great compo- imaginative and narrative in form and content.
sitional and colouristic abilities and shows him to Backer's last group portrait, the Governors of
be an independent painter who by 1633 had little the Sieuwezijds Huiszittenhuis at Amsterdam
to learn from Rembrandt. Moreover, a simple por- (c. 1650; Amsterdam. Rijksmus.i. is similarly char-
trait painted the following year. Boy in Grey (1634; acterized by a cool, objective rendering of the
The Hague, Mauritshuis), shows that he made only subject, with emphasis on the good likenesses
incidental use of the strong chiaroscuro so char- of the individual sitters. Besides commissions
acteristic of Rembrandt. The strongest influences for portraits of citizens and group portraits of
on Backer remained Friesian ones: in his history .Amsterdam governors, he also worked for the
paintings he elaborated on the Flemish style court. For Frederick Henry. Stadholder of the
of Lambert Jacobsz.; in his portraits the style of Netherlands, he painted an Allegory to Freedom
Wybrand de Geest predominates. (c. 1645: Berlin. Jagdschloss Grunewaldl. and the
Except for a short stay in Flushing in 1638, painters of Amsterdam chose him and Jacob van
documented by a signed, dated and inscribed Self- Loo to supply decorations for the Huis ten Bosch,
portrait drawing (Vienna, Albertina). Backer although none was realized. Good examples of
worked in Amsterdam until his death. He never Backer's later history paintings are Granida and
married. His development as a history painter in Deiphilos (Harlingen. Hannemahuisi. Amanllis
the 1630s is unclear, as there are no dated works. Crowning Myrtilus 11646: ex-Schatzker priv. col..

Stylistically related to his John the Baptist. Vienna! and the finely composed Venus and
however, are such large historical canvases as Adonis ic. 1650: Fulda. Schloss Fasanenei. tn which
Granida and Deiphilos (St Petersburg, Hermitage) he seems to have favoured a more classicizing

and Cymon and Iphigeneia (Brunswick. Herzog A preliminary study for the Venus and
Anton Ulrich-Mus.), which make obvious use of Adonis in black chalk of the figure of \enus

models by Rubens. Combining his skills as a por- (Boston. Maida and George Abrams priv. col.: see

traitand history painter during the 1630s. Backer Sumowski. 1979. no 54x1 bai nil fifed, as has

painted several tronies, character studies from life a preparatory composition stud] Jam.
of heads in exotic disguises. A Self-portrait as a Rijksmus.i for the painting of Nieuwezijds

Shepherd (The Hague, Mauritshuis) belongs to Huiszittenhuis governors: these are both good

a series of paintings from the same period examples of his attractive and spontaneous

(1635-40), in which Backer used himself as a draughtsmanship. His figure drawings are mostly
10 Backer, Jacob

done in black and white chalk on tinted paper. lessons in painting. After the death of his uncle,

Some are purely costume studies, others female he was apprenticed in 1646 to Jacob Adriaensz.
nude studies. The same technique was used by Backer in Amsterdam; after Backer's death in 1651,
Flinck, whose drawings are often confused with de Baen remained in Amsterdam, working inde-
Backer's. pendently as an artist. The only known work from
fame has been eclipsed by that of
Backer's his earliest years is an etching of the Burning of
Rembrandt. Nevertheless, he was praised in his the Amsterdam Town Hall, 1652 (see Hollstein, i,

own time and afterwards: in almost all printed p. 64). A painted portrait of the merchant Willem
17th-century sources on contemporary painting he van der Voort (Amsterdam, Hist. Mus.) can proba-
is acclaimed for, among other things, his 'beauti- bly be dated around the late 1650s. In 1660, de
ful, large nudes' (de Bie) and his 'great modern Baen moved to The Hague, where he is reputed to
paintings' (von Sandrart). have achieved rapid success as a portrait painter.
According to Houbraken, he was called to England
Bibliography by Charles II and worked for the court there.
C. de Bie: Het gulden cabinet (Antwerp, 1661), p. 130 Although there is no clear evidence, the painter
von Sandrart: Teutsche Academie (Nuremberg, 1675): ed. was probably active in London for some time in
A. Peltzer (Munich, 1925), pp. 178, 370, 401, 426 the years 1660-65. In 1665 he married Maria de
A. Houbraken: De groote schouburgh (1718-21/K 1976),
Kinderen in The Hague; at least eight children
p. 186
were born to them, one of whom. Jacobus de Baen
K. Bauch: Jakob Adriaensz. Backer: Ein Rembrandtschiiler
(b 1673), became a painter.
aus Friesland (Berlin, 1926)
W. Sumowski: Drawings of the Rembrandt School, i (New A continuous series of works, consisting mostly

York, 1979), nos 1-86; review by B. P. J. Broos in Oud- of life-size half-length portraits, has survived from
Holland, xcviii (1984), pp. 176-8 the 1660s onwards. They are fashionable and some-
Gods, Saints and Heroes: Dutch Painting in the Age of what flattering likenesses, showing the influence
Rembrandt (exh. cat., Washington, DC, N.G.A.; Detroit, of Anthony van Dyck, but they are not remarkable
MI, A. Inst.; Amsterdam, Rijksmus.; 1980-81), no. 52 for their panache. French influences are also per-
W. Sumowski: Gemalde der Rembrandtschiiler, (1983).
ceptible, for example in his frequent backgrounds
pp. 133-279; review by Bruyn in Oud-Holland, xcviii
of parks or rolling landscapes. In contrast to many
(1984), pp. 149-52
of his contemporaries, such as Caspar Netscher, de
The Impact of a Genius: Rembrandt, his Pupils and
Followers in the Seventeenth Century {exh.
Baen did not follow the new fashion for smaller

Amsterdam, Waterman Gal.; Groningen, Groninger paintings, continuing instead to produce life-size

Mus.; 1983) portraits of his models. The most characteristic

B. P. J. BROOS examples from 1665-75 include the various por-
traits of Johann Maurits ofNassau-Siegen (e.g. The
Hague Mauritshuis) and those of Hieronymous
van Beverdinck and his wife Johanna he Gillon
Baen, Jan de (1670; Amsterdam, Rijksmus.). He was commis-
(b Haarlem, 20 Feb 1633; dThe Hague, bur 8 March sioned by the city of Dordrecht to paint the large
1702). Dutch painter. He was one of the most Triumph of Cornells de Witt on his Return from
popular Dutch portrait painters in the years the Voyage to Chatham, 1667 for the Town Hall
1665-1700, since he brought to his work the kind (destr. 1672; smaller replica in Amsterdam,
of elegance and flattery preferred by his patrons. Rijksmus.). During this period, de Baen also
The son of a merchant, he was already orphaned worked for the family of the stadholder and for
at the age of three. He was then taken into the Frederick William, Elector of Brandenburg, who
household of his uncle, the magistrate and painter appointed him court painter in 1676 and tried
Heinrich Piemans {d 1645), who lived in Emden in unsuccessfully to lure him to Berlin. From 1675 he
East Friesland and who later gave him his first painted a series of group portraits of regents for
Bail ly, David ll

patrons in The Hague, Leiden, Amsterdam and history paintings in the manner of his contempo-
Hoorn, for example the Directors of the Dutch East raries Pieter Lastman and the Pynas brothers.
India Company, Hoorn (1682; Hoorn Westfries Bailly executed many portraits, of which a fair

Mus.), indicating that his reputation was not number have survived. These include meticulous
limited to his city of residence. In his individual small-scale drawings done in pen or with a fine

portraits from 1680 and after, there is an increas- brush, dating from 1621 to 1633. as well as some
ing tendency to superficiality and a strong incli- paintings. They represent professors and students
nation for stereotyped poses that are repeated at the University of Leiden and such fellow artists
from portrait to portrait. as Jan Pynas and Crispijn de Passe the younger.
Jan de Baen's position in society benefited from Bailly also depicted himself in a few drawings and
his reputation as a portrait painter. From 1666 a painting. He contributed his own likeness to a
onward he was a regular member of the painters' group portrait, the Civic-guard Company of Capt.
confraternity De Pictura in The Hague and a Harman van Brosterhuyzen (1626; Leiden, Stedel.

number of times the dean. In 1672 he was captain Mus. Lakenhal), byjoris van Schooten (1587-1651).
of The Hague civic guard company and, towards In 1648 Bailly was among the founder-members of
the end of his life, in 1699, regent of the drawing the Leiden Guild of St Luke, of which he was a
academy of his city. He regularly made use of assis- dean in the following year.

tants in his work, including the painters Barend Bailly's combination of portraiture and Vanitas
Appelman (1640-86) and Johannes Vollevens still-life constitutes his most original contribution

(1649-1728). His pupils included his son Jacobus to 17th-century art. Besides the usual allusions

de Baen, Nicolaes van Ravesteyn (1661-1750), to the transience of human life such as a skull,

Johan Friedrich Bodecker (1658-1727) and a smoking pipe, flowers, precious objects and a

Hendrick van Limborch (1681-1759). burning or extinguished candle. Bailly included

pieces of sculpture and portraits of himself and

Bibliography his wife, Agneta van Swanenburgh. In a portrait

Hollstein: Dut. & Flem.\ Thieme-Becker of Bailly by Thomas de Keyserof c. 1627 (Pans. priv.
A. Houbraken: De groote schouburgh (1718-21); ed. P. T. A. col., see Bruyn, p. 161). the still-life element of the
Swilleus (Maastricht, i943~53). ii. PP- 237~54 work— executed by Bailly himself—includes a roll
RUDOLF E. O. EKKART of parchment that is found in precisely the same
form in a drawing of 1624 and again in a paint
ing dated 1651. Prom this it may be concluded

Bailly, David that, like most of his contemporaries, Bailly

(b Leiden, 1584; d Leiden, Oct 1657). Dutch painter worked from model drawings rather than from
and draughtsman. The son of a Flemish immigrant direct observation.

who was a calligrapher and fencing-master, Bailly In Vanitas Still-life with .i Portrait of a Young
was apprenticed to a local surgeon-painter and Painter (1651; Leiden, Stedel. Mus. Lakenhal) a

then to Cornelius van der Voort (1576-1624), a por- young man, with the features of Bailly himsell

trait painter in Amsterdam. In the winter of 1608 when about 20 years old, holds Ins lelf-poitrail as

he started out as a journeyman, spending a year an older man [his forms pan ol a display ol

inHamburg and then travelling through several fragile, corruptible ami otherwise 'vain' objects

German cities to Venice and Rome. On the return The intention is to demonstrate the transitoriness
voyage he visited several courts in Germany, not only ol earthly life, bui also ol human a< luew-

working for local princes, including the Duke of merits including his own m^.
Brunswick-Wolfenbuttel. While no works survive Bailly's work served as a model fof I number
from the immediate period following his return ol artists specializing in vanitas paintings who
to the Netherlands in 1613, descriptions in old sale also incorporated small portraits and objets d'art

catalogues suggest that he may have produced into their compositions. Among them are Bailly's
12 Bailiy, David

nephews Harmen (1612-after 1655) and Pieter van Amsterdam Harbour (Amsterdam, Kon. Coll.

Steenwijck (c. 1615-after 1654), who were his Zeemanschoop), others depicting unidentified
pupils between 1628 and c. 1635- Gerrit Dou also locations, as in the View of a Dutch Waterway
appears to have been influenced by Bailly's style (Amsterdam, Ned. Hist. Scheepvaartsmus.).
and occasionally his iconography. It is unlikely According to Houbraken, Bakhuizen learnt to

that, as was formerly supposed, Bailiy influenced paint in oils from the marine painters Hendrick

Jan de Heem and Rembrandt, both of whom Dubbels and Allaert van Everdingen. His earliest
included books and other still-life items in their known paintings, among them Ships in a

paintings done in Leiden as early as 1625-30. Gathering Storm (1658; Leipzig, Mus. Bild. Kst.),

have a silvery-grey tonality and simple composi-

Bibliography tion and resemble the work of his presumed teach-
K. Bostrdm: 'David Baillys Stilleben', Ksthist. Tidskr., xviii ers and also that of Simon de Vlieger. A new
(1949). PP- 99-no element, frequently repeated in Bakhuizen's later
J. Bruyn: 'David Bailiy, "Fort bon peintre en pourtraicts et
work, is a brightly lit strip of sea, forming the tran-
en vie coye"', Oud-HoUand, lxvi (1951), pp. 148-64.
sition between the dark foreground and the sky.
He was a recognized marine painter by 1658, the
P. J. M. de Baar: 'Het overlijden van David Bailiy' [The
year in which he painted the background with
death of David Bailiy), Oud-HoUand, lxxxvii (1973),
ships for Bartholomeus van der Heist's Portrait of
pp. 239-40
N. Popper-Voskuil: 'Self-portraiture and Vanitas Still-life
a Lady (Brussels, Mus. A. Anc). He painted the
Painting in 17th-century Holland in Reference to backgrounds for van der Heist's pendant portraits
David Bailly's Vanitas Oeuvre', Pantheon, xxxi (1973), of Lieutenant-Admiral Aert van Nes and his wife
pp. 58-74 Geertruida den Dubbelde and also for V7ce-

J. BRUYN Admiral Johan de Liefde (all 1668; Amsterdam,

Still referred to in 1656 as a calligrapher and
Bakhuizen [Backhuysen; Bakhuisen; in 1657 and 1660 as a draughtsman ('teyckenaer'),
Bakhuyzen], Ludolf Bakhuizen did not declare his profession as
(b Emden, East Frisia [now Germany], 28 Dec 1630; painter until his third marriage in 1664 to Alida
d Amsterdam, 6-7 Nov, bur 12 Nov 1708). Dutch Greffet. He painted a portrait of Alida wearing
painter, draughtsman, calligrapher and print- sumptuous fabrics (Emden, Ostfries. Landesmus. &
maker of German He was the son of
origin. Stadt. Mus.), alluding to the fact that she ran a
Gerhard Backhusz. (Backhusen) of Emden, and he silk business (of which he was the nominal owner).
trained as a clerk in his native town. Shortly before On her death in 1678 she left him a considerable
1650 he joined the Bartolotti trading house in fortune. Two years later Bakhuizen married again,
Amsterdam, where his fine handwriting attracted his fourth wife being Anna de Hooghe, a prosper-
attention. He practised calligraphy throughout ous merchant's daughter.
his life (examples in Amsterdam, Rijksmus.; Bakhuizen did not join the Amsterdam guild
Dresden, Kupferstichkab.; London, BM). During his of painters until 1663; thereafter his fame as a
early years in Amsterdam he also displayed his marine specialist was rapidly established. In 1665
skilled use of the pen in drawings, mainly marine the burgomaster of Amsterdam commissioned
scenes, done in black ink on prepared canvas, him to paint a View of Amsterdam and the 1J
panel or parchment. He probably derived this tech- (Paris, Louvre), intended as a diplomatic gift for
nique and subject-matter from Willem van de Hugues de Lionne, Louis XIV's Foreign Minister.
Velde (ii) the elder's pen drawings of the 1650s. With the resumption of hostilities between the
Bakhuizen continued to produce pen drawings Netherlands and England in 1672, Willem van de
until the 1660s, some depicting recognizable Velde the elder and Willem van de Velde the
ships and existing views, such as his Ships Leaving younger moved to England, and Bakhuizen
Bassen, Bartholomeus van 13

became the leading marine painter in the hand is evident in the precision with which he
Netherlands. His success brought him commis- drew intricate ship's rigging, while he could also
sions from high places: according to Houbraken, sketch fluently with an almost Rembrandtesque
Cosimo III de' Medici, Grand Duke of Tuscany virtuosity. The finest examples of his drawings are
(1610-1723), Frederick I of Prussia, Elector of in the print rooms of Amsterdam (Hist. Mus.;
Saxony, and Peter the Great, Tsar of Russia, visited Rijksmus.), Dresden (Kupferstichkab.) and London
his studio. (Peter the Great was reputed to have (BM). None of Bakhuizen's children by any of his
taken drawing lessons from him.) marriages was an artist, but one of his grandsons.
After 1665 Bakhuizen's compositions became Ludolf Bakhuizen the younger (1717-82), became
more daring, his colours brighter and the atmos- a painter and imitated his grandfather's work.
phere more dramatic, with ominous cloudy
skies. His subject-matter was often inspired by Bibliography

historical or military events, as in the Return of A. Houbraken: De groote schouburgh, ii (1718-21).

the 'Hollandia' to the Landsdiep in 1665 (1666-7; pp. 236-44

C. Hofstede de Groot: Verzeichnis. vii (1918). pp. 237. 356
Amsterdam, Ned. Hist. Scheepvaartsmus.), the
L. J. Bol: Die hoUandische Marinenmalerei des 17.
First Day of the Four Days' Battle (c. 1670;
Jahrhunderts (Brunswick, 1973)
Copenhagen, Stat. Mus. Kst), Soldiers Embarking
Ludolf Bakhuizen. 1631-1708: Schryfmeester. teyckenacv.
at the Montelbaanstoren (1685; London, Apsley
schilder [Calligrapher. draughtsman, painter) (exh. cat.
House) and the 'Brielle' on the Maas near by B. Broos. R. Vorstman and W. van de Wetering.
Rotterdam (1689; Amsterdam, Rijksmus.). Paint- Amsterdam, Ned. Hist. Scheepvaartsmus.. 1985)
ings such as the Arrival of Stadholder King H. Nannen: Ludolf Backhuyzen: Emden 1630-Amsterdam
William III in the Orange Polder in 1691 (1692; 1708 (Emden. 1985)
The Hague, Mauritshuis) and the preliminary B. P. J. BROOS
sketches for it (Paris, Petit Pal.; London, N. Mar.
Mus.) demonstrate that decorative effect was
thought more important than historical accuracy. Bassen, Bartholomeus (Cornelisz.) van
Unlike the van de Veldes, who were more con- {b TThe Hague, c. 1590; d The Hague, bur 28 Nov
cerned with representing the technical aspects of 1652). Dutch painter and architect. He was the
sailing vessels and naval battles (see fig. 56), grandson of Bartolt Ernst van Bassen from
Bakhuizen depicted the perpetually changing Arnhem, who was Clerk of the Court of Holland
climate and the magnificent skies of the in The Hague. In 1613 van Bassen was admitted n

Netherlands. Much of his work, moreover, glori- the Guild of St Luke in Delft, having come from
Amsterdam and the mercantile trade that had
fies outside the city, in 1622 he became a member of
made it great. With this in mind he made his first the Guild in The Hague where he wai also munic-
etchings in 1701, at the age of 71 as he proudly ipal architect from 1638 until nil death. He
stated on the title page of D'Y stroom en married in 1624; his son Aernoudt married a

zeegezichten ('Views of the River IJ and the sea'), daughter of Conu'iis ran Poelenburch.
a series of harbour scenes preceded by a repre- Van Bassen's earliesl dated work is an Interior
sentation of the Maid of Amsterdam in a tri- of a Church 11614; untraced; lee Connoisseur,
umphal chariot. clxxxi, 1972. p. 58). which, though strongly

The portraits Bakhuizen painted of numerous inspired by the cathedra] in Antwerp, was proba-
friends are of less value artistically than as a bly copied after .1 painting by Hendrik ran
record of his good relations with contemporary Steenwijk I or Pieter Neefis 1 rather than from life

scholars and literary figures. His drawings are less Prom 1620 his development can be clearly traced
well-known, although they were much sought in the Fantasy Interior oi the Nieuwe Kerk, Delft
after in his own day due to their fine depiction of with the Tomb oi William oi Orange 11620;

atmosphere and meticulous rendering. His steady Budapest, Mus. 1 A .), van Bassen Included both
14 Bassen, Bartholomeus van

Antwerp motifs, some borrowed from the print by painters, the prints of Hans Vredeman de Vries and
Jan van Londerseel after a painting by Hendrick the published editions of Italian architectural
Aertsz. (d 1603), and Dutch motifs, such as the fur- books and print series, although the only known
nishings and the accurately rendered tomb. The case in which a direct source has been identified
more natural fall of light and spatial effect are is a painting (Copenhagen, Stat. Mus. Kst) after a

also typically Dutch. This combination of fantasy print by Mattaus Greuter (c. 1565-1638) of Carlo
and reality has been described by Liedtke as 'the Maderno's design for the facade of St Peter's, Rome.
realistic imaginary church'. Although van Bassen's architectural paintings
Until about 1626 van Bassen painted mainly are often fantastic and Italianate, as an architect
monumental Renaissance-type church interiors, he started work more or less in the traditional
with a view down the centre of the nave, although idiom of the Dutch Renaissance, as exemplified by
the inclusion of a pronounced transept or side the work of Hendrik de Keyser I. He was far less

chapel distinguished his work from the traditional progressive than his contemporaries Jacob van
tunnel perspective of the Antwerp painters. After Campen and Pieter Post. From 1629 he built the
1626 his interiors became less symmetrical, with palace in Rhenen for Frederick V, Elector of the
the vanishing point less apparent and moved to Palatinate, the expelled 'Winter King' of Bohemia.
the side. The space becomes more complex, and From 1630 onwards he was involved, though prob-
the architecture is often either completely or partly ably only as an executant, in the building of the
Gothic in character. Striking parallels exist with hunting castle at Honselaarsdijk and the Huis Ter
the contemporary work of Dirck van Delen. By the Nieuburch, Rijswijk (destr. 1703; see drawing by
1630s the dichotomy between the orthogonals Jan de Bisschop, Amsterdam, Rijksmus.), for Prince
towards the vanishing point on the one side and Frederick Henry, both near The Hague.
the successively receding spaces towards the other Between 1634 and 1639 van Bassen worked
side, as in the Interior of the St Cunerakerk at on the town hall, the Catharinakerk and the
Rhenen (1638; London, N.G.) and in the Interior of Gasthuispoort, all in Arnhem. In The Hague he
a Church (1639; Budapest, Mus. F.A.), forms one of built the butter weigh-house (1650) and the Nieuwe
the most important points of departure for the Kerk (1649-56), the latter together with Pieter
radical development of the diagonal or two-point Arentsz. Noorwits (d 1669), who is usually consid-
perspective introduced around 1650 by van ered to be the main architect. Van Bassen's design
Bassen's pupil Gerrit Houckgeest. Towards the end for the Nieuwe Kerk, later to be amended, is pre-
of his life van Bassen regularly returned to his pre- served in a painting by him setting it in its actual
vious, more monumental and centralized spatial surroundings (1650; The Hague, Gemeentemus.).
treatment, though changed in a high Baroque style.
In addition to church interiors van Bassen Bibliography
painted a series of room interiors, mainly in H. Jantzen: Das niederlandische Architekturbild (Leipzig,
the 1620s. The rooms are decorated with heavy 1910/K Brunswick, 1979), pp. 58-65
Renaissance-style wood panelling and portals and E. A. J. Vermeulen: Handboek tot de geschiedenis der
ceilings coffered in the manner of Serlio. Until Nederlandse bouwkunst [Handbook of the history of

1631 the figures were often painted by Esaias van architecture in the Netherlands], iii (The Hague, 1941),

de Velde, and occasionally by Frans Francken pp. 60-61, 107-10

E. H. ter Kuile and others: Duizend jaar bouwen in
(e.g. Interior, 1624; Berlin, Bodemus.). Van Bassen
Nederland |A thousand years of building in the
later employed Anthonie Palamedesz. and
Netherlands], ii (Amsterdam, 1957), pp. 122-7
Cornells van Poelenburch as staffage painters. Van
W. A. Liedtke: Architectural Painting in Delft (Doorspijk,
Bassen's use of colour was initially varied, if matt
1982), pp. 22-33
and heavy, but later became more monochrome. C. Scheffer: Bartholomeus van Bassen (diss., Leiden,
The most important sources for his paintings Rijksuniv., 1985)
were the works of the Antwerp architectural BERNARD VERMET
Beerstraten: (i) Jan Beerstraten 15

Beerstraten graphical painting by him: View of Oude Kerk in

Dutch family of artists. Jan Abrahamsz. the U7n fen 1659; Amsterdam. Rijksmus.). Although
Beerstraten, the most successful of the family, was his work reflects the increased public interest in

the son of Abraham Danielsz. Beerstraten. a cloth- topography in mid-i7th-century Amsterdam, there
weaver from Emden. In August 1642 he married is also a somewhat romantic atmosphere pervad-

Magdalena Bronkhorst. by whom he had five chil- ing his winter landscapes. His colours are gener-
dren: Abraham lb 1644); Johannes lb 16531: Jacobus ally tonal and his style soft by comparison with the
(b 1658): Magdalena (b 16601 and David lb 16611. clearly defined townscapes by Jan van der Heyden.
Both Jan and his eldest son. Abraham, specialized His subjects were also romanticized, as in the Rums
in paintings of winter townscapes, sea battles of the Old Town Hall of Amsterdam after the
and southern sea ports. Paintings signed /, /, or Fire of 7 July 1652 11653; Amsterdam. Rijksmus. I.

Johannes Beerstraten are assumed to be by Jan. Shortly before his death Jan Beerstraten painted
To date, however, it is unclear who made the the Church of Sieuwkoop (Hamburg, Ksthalle).

paintings signed A. Beerstraten, which differ con- depicting the church under a dark, cloudy sky. with
siderably in quality. Besides Abraham, a certain a funeral procession emerging from behind it.

Anthonie Beerstraten is said to have been active as Beerstraten might have been a pupil of Claes
a painter of winter landscapes and sea battles in Claesz. Wou (1592-1665). a marine painter in the
Amsterdam from 1635-65. His relationship to Jan Flemish tradition, who seems to have influenced
Beerstraten is not known. The better paintings are his paintings of sea battles. His southern ports and
attributed to Abraham, on the basis of comparison seashores were influenced by the works of such
with the View of the Old Town Hall in Kampen Dutch Italianate painters as Nicolaes Berchem (see

11665: ex-Lansdowne Col.. Bowood House, Wilts: fig. 4)and Jan Baptist Weenix. Unlike his town-
see Hofstede de Grooti. which is signed Abraham scapes. Beerstraten's ports were totally imaginary,
Beerstraten. These include the winter view of the sometimes with a well-known northern European
Soorder Kerk in .Amsterdam (Amsterdam. Hist. building incorporated on the seashore. It is not
Mus.), which is signed A. Beerstraten, but not known whether he went to Italy, although in his

dated. Anthonie is thought to have used rather paintings the southern light seems to be accu-
harsh colours. To him is attributed another rately conveyed, as in the Imaginary View of a Port
painting signed A. Beerstraten, depicting a with the Facade of S Maria Maggkm of Rome
Southern Seaport with the Mariakerk of Utrecht (formerly known as the 'Port of Genoa'. 1662.

(1667: Utrecht. Cent. Mus.). The incorporation Paris. Louvre). For his Italian subjects he may have
of northern European buildings— in this case a copied drawings given to him by Johannes
Romanesque church no longer extant— in southern Lingelbach. an Italianate painter who had been to

Mediterranean landscapes was a common theme Italy. Lingelbach occasionally painted the fig

used by Dutch Italianate painters in the 1660s. The in Beerstraten's compositions. His drawings rep-
Beerstratens were imitated by the Storck brothers. resent themes similar to those of his paintir

Bibliography Bibliography

C. Hofstede de Groot: "Kritische opmerkingen omtrent de Dutch 17th-century Italianate Painters (exh. cat

oud-Hollandsche schilderijen in onze musea' [Critical Blankert. Utrecht. Cent Mus.. 1967: rev. Soest

remarks regarding Dutch Old Masters in our L. J. Bol: Die hollandische Mannenmalerei 1m 17.

museums]. Oud-Holland 11904 114 Jahrhundert (Brunswick. iu

The Dutch Cityscape in the 17th Century and its Sources
van Lakerveld. Amsterdam. His

lexh. cat. by L.

(1) Jan (Abrahamsz.) Beerstraten Toronto. A.G. Ont : 197

[b Amsterdam. 1622: d Amsterdam. 1 June 1666I. C. Schloss: Travel and Temptation: The Dutch Italianate

Painter and draughtsman. His townscapes were Harbour Scenes. 1640-1680 (Ann Arbor. 1982)

mostly winter scenes, as in the first known topo-

16 Bega, Cornelis

Bega, Cornelis (Pietersz.) many-figured peasant subjects of van Ostade.

lb Haarlem. 1631/2, baptln Jan 1632; d Haarlem, Between c. 1660 and 1664 he began to paint genre

?27 Aug 1664). Dutch painter, draughtsman and scenes with fewer figures, which are finely artic-

etcher. He was born into prosperous circum- ulated, colourful and psychologically expressive,
stances; his mother, Maria Cornelis, inherited for example Two Men Singing (1662; Dublin, N.G.)

half the estate (gold, silver, paintings, drawings and Woman Playing the Lute (Florence, Uffizi;
and prints) and all of the red chalk drawings see fig. 3). His exquisite, late fijnschilderen ('fine

of her father, Cornelis Cornelisz. van Haarlem, a painting') manner, evident in The Alchemist (1663;
renowned Mannerist artist. Bega's father was Malibu, CA, Getty Mus.), compares well with that
Pieter Jansz. Begijn id 1648), a gold- and silver- of Gerrit Dou.
smith. Like other family members, Bega was As a draughtsman Bega is noted for his single-
probably Catholic. Houbraken's claim that Bega figure studies, executed mainly in black and white

studied with Adriaen van Ostade is likely to be chalk on blue paper or red chalk on white paper.
correct; this was probably before 24 April 1653, None of the studies, which were drawn naer het
when Bega joined Vincent Laurentsz. van der leven (from life), seems to relate to a painting or

Yinne in Frankfurt for a journey through etching. Bega traded drawings or shared models
Germany. Switzerland and France. Bega had with other artists of the Haarlem school, includ-
returned to September 1654, at
Haarlem by 1 ing van der Cooghen, Gerrit Berckheyde, Dirck
which time he joined the Guild of St Luke; he was Helmbreker and Cornelis Visscher. These artists

already a competent draughtsman, as indicated by drew chalk figure studies in a very similar style,

his first extant dated work, Interior with a characterized by regular and precise parallel

Sursing Mother (1652; Frankfurt am Main, Stadel. shading and well-defined forms; their drawings,
Kstinst.), and by a remarkable double portrait especially those of Bega and Berckheyde, have
(Amsterdam, Rijksmus.) drawn by him and been frequently confused. Unlike the realistic

Leendert van der Cooghen in 1654. figure studies, Bega's etchings depict interiors

Bega painted, drew, etched and made counter-

proofs in a wide variety of materials on different
types of small-scale supports. He may have been
the first Dutch artist to make monotypes, but this
remains controversial. Approximately 160 paint-
ings, 80 drawings and six monotypes by Bega have
been catalogued (Scott, 1984), as well as around
34 etchings (Bartsch and Hollstein). Bega's princi-
pal subjects were genre representations of
taverns, domestic interiors and villages. He
depicted nursing mothers, prostitutes, drunks,
smokers, gamblers and fools such as quack doctors
and alchemists. Less common subjects include the
ridiculed or pestered woman, as in Two Figures
and Mother with a Spirits Bottle [c. 1662; Gouda,
Stedel. Mus. Catharina Gasthuis) and The Inn
(etching), and witty satires on traditional scenes
of middle-class music-makers, such as the Music
Lesson (1663; Paris, Petit Pal.).

Bega's early paintings, such as the Weaver's

Family (c. 1652; St Petersburg, Hermitage), are 3. Cornelis Bega: Woman Playing the Lute (Florence.
freely executed, dark and coarse, recalling the Galleria degli Uffizi 1
Berchem, Nicolaes 17

with figures or single figures in the manner of Berchem [Berghem; Berighem; Berri-
van Ostade; the compositions, often with master- ghem], Nicolaes (Pietersz.)
ful chiaroscuro effects (e.g. the Old Hostess, see (bapt Haarlem, 1 Oct 1620; d Amsterdam, 18 Feb
Bartsch, p. 238, no. 32), reflect most closely the 1683). Dutch painter, draughtsman and etcher, son
paintings of the 1650s. of pieter Claesz. He was one of the most talented,
Bega presumably remained in Haarlem, where versatile and well-paid artists of his time. A pro-
he paid dues to the Guild in 1661. He probably suc- lific member of the second generation of Dutch
cumbed to plague (Houbraken); fees for his expen- Italianates, Berchem also produced scenes of his

sive funeral at St Bavo's were paid on 30 August native landscape, winter landscapes, night scenes,
1664. Among the artists he influenced were hunts, battles, imaginary Mediterranean har-
Thomas Wijck, Jan Steen, Richard Brakenburg bours, complex allegories, as well as history paint-
(1650-1702) and Cornells Dusart. Painters such as ings. According to Hofstede de Groot, his oeuvre
R. Oostrzaen ( fl 71656) and Jacob Toorenvliet amounts to c. 857 paintings, and while this esti-

(1635/6-1719) and later European artists imitated mate is numerous misattributions.

inflated by
Bega's style and borrowed principal characters Berchem was undoubtedly a prolific artist. He also
from his low-life dramas. made more than 300 drawings and around 50 etch-
ings, mostly of animal subjects. In addition, he
Bibliography painted the staffage in the works of such artists
Hollstein: Dut. & Flem. as Jacob van Ruisdael (e.g. the Great Oak, 1652;
A. Houbraken: De groote schouburgh (1718-21), i,
Birmingham, Mus. & A.G.). Meindert Hobbeina.
PP- 349-50 Willem Schellinks, Allaert van Everdingen and Jan
A. von Bartsch: Le Peintre-graveur (1803-21), v,
Hackaert. Furthermore, Berchem collaborated
pp. 223-43
with Gerrit Dou, Jan Wils (c. 1610-66) and Jan
A. Bredius: Kiinstler Inventare: Urkunden zur
Baptist Weenix the elder.
Geschichte der hollandischen Kunst des XVIten,
XVIIten und XVIIIten Jahrhunderts, 7 vols (The Hague,
Berchem used several different spellings of his

1920-21) surname, which was sometimes preceded by C(for

C. van Hees: 'Nadere gegevens omtrent de Haarlemse Claes) or CP (Claes Pietersz.). although after 1660

vrienden Leendert van der Cooghen en Cornells Bega' he generally used N.

[Later inf. about the Haarlem friends Leendert van der
Cooghen and Cornells Bega], Oud-Holland, lxxi (1956). 1. Life

pp. 243-4 Berchem's first teacher was his father who, accord-
Cornells Bega Etchings (exh. cat. by B. Pearce, Adelaide,
ing to the records of the Haarlem Guild ol si 1 uke,
A.G. S. Australia, 1977)
instructed his son in drawing m 1634. Houbraken
P. Begheyn: 'Biografische gegevens betreffende de
claimed that Berchem itudied with fan van Goyen,
Haarlemse schilder Cornells Bega (ca. 1632-1664) en
zijn verwanten', [Biog. inf. about the Haarlem painter
Claes Moeyaert, Pieter de Grebber, Jan Will and

Cornells Bega (c. 1632-64) and his relatives), Oud- Jan Baptist Weenix. rhougfa none ol these periods

Holland, xciii (1979), pp. 270-78 of study is documented, evidence ol the works
P. Schatborn: Dutch Figure Drawings from the themselves largely corroborates Houbraken'i state-

Seventeenth Century (Amsterdam, 1981), ment. Berchem's early paintings In the native
PP- 105-7 Dutch tonal style support some connection with
M. Scott: Cornells Bega (1631/32-1664) as Painter and Ben hem
van Cloven; a drawing In (the Calling Oi
Draughtsman (diss., College Park, U. MD, 1984)
St Matthew, C Haven. ( I. Yale I

Masters of Seventeenth-century Dutch Genre Painting

alter a work In Moevaert 1 if> o>; Brunswick. Her/o.u
(exh. cat. by P. Sutton and others, Philadelphia, PA.
\nton rjlrich-Museum) lends credence to the
Mus. A.; W. Berlin, Gemaldegal.; London. RA; 1984).
stion that he studied with Moevaert in
pp. 132-6
M. Scott: Cornells Pietersz. Bega (in preparation! Amsterdam, as does his receptJveness to the pre-

MARY ANN SCOTT Rembrandtists in his early work; and Berchem's

18 Berchem, Nicolaes

classicizing works of the 1650s can be related to 1724, with a list of the collections he knew that

Haarlem classicism, one of whose greatest expo- contained works by Berchem, provide support for
nents was de Grebber. However, given that Jan the artist's presence in Italy at some point.

Baptist Weenix and Berchem were so close in age, From the mid-i6sos until his death, Berchem
a student-teacher relationship seems unlikely; shuttled back and forth between Haarlem and
there are nonetheless parallels in the work of both Amsterdam. He is mentioned in Haarlem in 1656

artists and they collaborated on at least one occa- and 1657, in Amsterdam in 1660 (when he served
sion, in the Calling of St Matthew (c. 1655; The as witness at the betrothal of Jan Wils), again in
Hague, Mauritshuis), which includes a self-por- Haarlem in 1670, after which he moved perma-
trait of Berchem. nently to Amsterdam. The paintings remaining
Berchem joined the Haarlem Guild of St Luke in his estate were auctioned by his wife on
on 6 May 1642 and had three pupils by August of 4 May 1683 for 12,000 guilders (notice in the
that same year. In 1646 he married Catrijne Haarlemsche Courant, 27 April 1683, no. 16), and
Claesdr. de Groot in Haarlem; he is also said to on December 1683, (notice in the Haarlemsche

have been married a second time, to the daughter Courant, 30 Nov 1683) his books and all the
of Jan Wils. His son Nicolaes (van) Berchem graphic works he had owned were sold, including
(c. 1649/50-1672) was also an artist and copied his drawings and prints by himself and others (over
father's works (e.g. Crab-catchers by Moonlight; 1300 by Antonio Tempesta).
Goteborg, Kstmus.). Several drawings confirm that
Berchem the elder travelled with Jacob van 2. Work
Ruisdael (his 'great friend', as Houbraken noted) (i) Paintings. The quality and variety of Berchem's
through Westphalia c. 1650, and the Castle of painted work is remarkable. Around 1645 he pro-
Bentheim, a landmark there, figures in works duced landscapes with shepherds and cattle in a

by both artists (e.g. Berchem 's Landscape with brownish tonality inspired by Jan van Goyen and
Castle Bentheim, 1656; Dresden, Gemaldegal. Alte by Pieter van Laer, whose work Berchem knew
Meister). either directly (van Laer was in Haarlem in 1642)
The question of whether and when Berchem or through prints. However, c. 1650 Berchem's col-

visited Italy remains unclear. It has been assumed oration became brighter and he turned to scenes
that he went twice, perhaps even three times. of panoramic vistas (e.g. Italian Landscape with
Houbraken stated that Berchem made a sea voyage Figures and Animals; Windsor Castle, Berks, Royal
as a young man, adding that he had already been Col.) that are indebted to Jan Asselijn. From the
painting for some time. Berchem is said to have 1650s he began making landscapes in a purely
made the first trip in 1642 together with Jan Italianate style, characterized by more varied and
Baptist Weenix, but although the latter is docu- saturated colours, some of which are reminiscent
mented as being in Rome is no
until 1645, there of the work of Jan Both. The figures became more
mention of Berchem's presence there. The second, elegant and attenuated and the scenes, often
more plausible trip would have occurred some- idealizing rural life, are pervaded by a warm
time between 1651 and 1653, and the fact that southern light (see fig. 4). Berchem's Landscape
Berchem and his wife drew up their will in 1649 with Tall Trees (1653; Paris, Louvre) combines a
may have been in anticipation of the artist's pro- number of elements considered typical, including
longed absence. Based on a misreading of a docu- the warm light, fluid handling, distant vistas, shep-
ment, it was proposed that the artist made a third herds on the move and imposing trees. Sometimes
trip in 1673, but this has been proved wrong. Berchem's landscapes incorporate identifiable
While not conclusive, the presence of works by sites and architecture, such as the waterfalls at
Berchem at an early date in the Colonna family Tivoli or the nearby Temple of the Sibyls, as well
collection (inventory of 1714) and a biography, as Dutch landmarks, such as the ruins of Brederode
most likely of Berchem, written by Nicola Pio in Castle or Kronenburg Castle near Loenen.
Berchem, Nicolaes 19

4. Nicolaes Berchem: Landscape with Jacob and Rachel (Paris. Musee du Louvre)

He also painted imaginary Mediterranean became broader and looser, marked by stronger
harbour scenes, which found their most sophisti- contrasts of light and dark and a thinner appli-
cated form in the 1660s. A masterpiece in this cation of paint (see col. pi. II). His figures wen
genre is Moor Presenting
the a Parrot to a Lady fluid and graceful and could almost be described
(c. 1660; Hartford. CT, Wadsworth Atheneum), in as agitated (e.g. I.jih!>cj; :enna. Km hist
which the elegantly dressed woman, her maid and Mus.). Towards the end ol his career he painted .1

a Moor with a parrot hold pride of place. Painted considerable number ol allegorical scenes and his-

in his most liquid yet precise style, the composi- tories (e.g. the Allegory ol Celestial and Profane
tion exquisitely balances the colourful group of Wiesbaden. Mus Wiesbaden).
exotically dressed figures and the monochrome
group, including the statue of Venus with the two (ii) Drawings and etchings. Kerchem was also a versa-

turtle-doves, and the classicizing building in the tile and prolific draughtsman with both figure
background. The specific subject of this painting studies and landscapes to his name His earrj
is unclear. ure studies Irom the 164OS, a number ot them ol

Berchem continued to paint landscapes and shepherds drawn m black and white chalk on blue

histories in the 1670s and 1680s, and his style paper, are related to a tvpe found m the work ot
20 Berchem, Nicolaes

Pieter van Berchem incorporated some of

Laer. frontispieces and title-pages, many of them for

these drawings into his paintings, for example bibles (e.g. the frontispiece to the Statenbijbel,

the drawing of a Resting Shepherd (Amsterdam, Leiden, 1663, published by the widow of Johannes

Rijksmus.) recurs in the Resting Shepherds Elzevier). Berchem collaborated with Nicolaes
(i64[?4]; New York, Met.). His later figure studies Visscher in 1658 on an impressive map of the

are independent works of art, marked by greater world, for which he designed allegorical scenes of
detail and contrast (e.g. Man Holding a Whip, Seen the Elements for the corners. He also designed
from behind; Boston, priv. col., see Schatborn, allegorical vignettes for Visscher's maps of
fig. 14). America, Asia, France and Malta. Berchem's
Some of the figures recall Classical statues; designs for biblical maps (La Sainte Bible, 1669;

for example, both the figure studies already men- Paris, Bib. N.) were engraved by Abraham
tioned are loosely based on the Farnese Hercules Blooteling and Jan de Visscher.
(Naples, Mus. Archeol. N.). Other drawings are
more properly described as figured scenes, for 3. Critical reception and posthumous reputaion
instance a group representing scenes from the Berchem appears to have had many pupils and

Story of Venus and Adonis (Bremen, Ksthalle), followers.Houbraken noted that Pieter de Hooch
which were incorrectly attributed to Laurent de and Jacob Ochtervelt, both from Rotterdam,
la Hyre. Drawings with religious subject-matter trained under Berchem, probably between 1646
are preserved in Amsterdam (Rijksmus.) and Leiden and 1655. He also stated that Karel Dujardin,
(Rijksuniv, Prentenkab.), some of which are Johannes Glauber, Jan van Hughtenburgh
squared for transfer (Leiden). Berchem generally (1647-1733), Dirck Maas and Jan van Huysum
worked in black chalk, sometimes heightened with studied with the artist, although no proof of
white, and red chalk. However, for some detailed this exists. Other students mentioned in contem-
landscapes he worked with charcoal impregnated porary documents include Willem Romeijn, whose
with linseed oil (e.g. Landscape with Diana and earlywork has been confused with Berchem's, and
her Nymphs, c. 1655-60; Amsterdam, Rijksmus.), a Simon Du Bois. His closest imitators include
technique rarely used in the 17th century. Romeijn, Abraham Begeyn, Dirck van den Bergen
Berchem produced approximately 50 etchings and Johannes van der Bent (1650-90); Berchem's
representing idyllic Italian views with pastoral influence was considerable and lasted long after
subjects. The figures in his early etchings were his death.
again inspired by Pieter van Laer and, following Italianates in general and Berchem in particu-
the trend also noticeable in his paintings, they lar held an exalted position in the 17th and 18th
eventually became more graceful. This is evident centuries and in the early 19th, losing ground only
in the etching and drypoint of c. 1644-5 called in the late 19th century and first half of the 20th.
The Bagpiper (Hollstein, no. 4), known in the 18th Collectors in the 18th century, especially French
century as 'The Diamond', which is characterized ones, preferred a view of Italy by Berchem or Both
by southern light and strong contrasts between to a scene of the Dutch countryside by Jacob van
the central group and the landscape. His style is Ruisdael, for instance. Thus it is not surprising
distinguished by fine tonal meshes or masses of that works by Berchem and Wouwermans fetched
stipples. Later etchings abandon the earlier tonal, the highest prices at the sales of the collections
atmospheric approach for stronger contrasts and of the Comtesse de Verrue (1737) and Jean de
rhythmic calligraphic contours. The figures in the Julienne (1767). In the 18th century more engrav-
Cows at the Watering-place (1680; etching and dry- ings were made after works by Berchem than any
point, Hollstein, no. 1) are larger than previously other Dutch artist, and Jean-Baptiste Oudry even
and the landscape plays a lesser role. said of Berchem that 'one single picture of this
In addition to his own independent etchings, brilliant artist can replace a complete course in
Berchem provided designs for map ornaments, practical training'.
Berckheyde: (1) Job Berckheyde 21

The taste for Berchem and the Italianates con- C. Schloss: Travel. Trade, and Temptation: The Dutch
tinued undiminished into the 19th century. An Italianate Harbour Scene. 1640-1680 (Ann Arbor. MI.
early voice denouncing these artists was that of 1982)
Masters of the i7th<entury Dutch Landscape Painting
John Constable in 1836; at the end of a lecture, a
(exh. cat. by P. C. Sutton. Amsterdam. Rijksmus.;
collector in the audience asked him, 'I suppose I

Boston. MA. Mus. F.A.; Philadelphia. PA. IfllJ

had better sell my Berchems', to which Constable
1987-8). pp. 262-8
replied, 'No sir, that would only continue the mis- S. K. Bennett: 'Nine Religious Drawings by Nicolaes
chief. Burn them!' Initially his criticism went Berchem: Designs to Ornament Maps in a 1669 Bible'.
unheeded but, by the end of the century. Hoogsteder-Saumann Mercury. 13-14 (1992). pp. 60-73
Italianates had lost favour partly because of JEN N I FEB KILIAN
the rise of Impressionism and the appreciation
of the Dutch national school of landscape
expounded by such eminent critics as Wilhelm Berckheyde
von Bode, E. W. Moes and Cornells Hofstede de Dutch family of painters and draughtsmen. |i ) Job
Groot. This trend was definitively reversed by the Berckheyde and his brother (2) Gerrit Berckheyde
first comprehensive exhibition of Italianate art were renowned for their architectural paintings.

organized by Albert Blankert and held in Utrecht Gerrit was the only recorded pupil of his older

in 1965. Since then other exhibitions have pre- brother Job. During the 1650s the brothers made
sented the Italianates in a balanced context, and an extended Germany along the Rhine,
trip to

numerous studies and monographs devoted to visiting Cologne. Bonn, Mannheim and finally

these artists have been written. Heidelberg. Whether this occurred before or after
1654. when Job became a master of the Guild of

Bibliography St Luke in Haarlem, is uncertain. According to

Hollstein: Dm. & Flem. legend, the brothers worked in Heidelberg for
C. de Bie: Het gulden cabinet 116611. p. 385 Charles Ludwig (d 1680). Elector Palatine; however,
A. Houbraken: De groote schouburgh (1718-21 1. ii. their inability to adapt to court life led them
pp. 109-14 to return to Haarlem, where Gerrit became a

J. Smith: A Catalogue Raisonne of the Works of the Most member of the Guild of St Luke on 27 July 1660.
Eminent Dutch, Flemish and French Painters. 9 vols
In Haarlem the Berckheyde brothers shared a
(London, 1829-42), v, pp. 1-111: ix. pp. 593 6i9
house and perhaps a studio as well. The idea that
C. Hofstede de Groot: Hollandischen A/a/er 1907-28). 1 ix.
Job was the superior artist and habitually
pp. 51-292
contributed the figures to Gerrit's architectural
I. von Sick: Sicolaes Berchem: Ein Vorlaufer des Rokoko
subjects has been discounted, but the 1

(Berlin. 1930)

E. Schaar: 'Berchem und Begeijn'. Oud-Holland. lxvii

their mutual influence and involvement remains

(1954). pp- 241-5 unclear. Confusion between them mav have

— : Zeichnungen Berchems zu Landkarten'. Oud-Holland. resulted from the similarity of their signatures,
lxxi (1956). pp. 239-43 where Job's / resembles Gerrit's g. Job also signed
— : Studien zu Nicolaes Berchem (diss., U. Cologne. his work with an // (for Hiob or Job) and with the
1958) monogram HB.
Nederlandse ljde eeuwse Italianiserende landschap-
schilders [Dutch 17th-century Italianate landscape
(1) Job (Adriaensz.) Berckheyde
painters] (exh. cat., ed. A. Blankert; Utrecht. Cent. -
|an 1630: d Haarler '
Mus.. 1965 R 1978), pp. 147-71
He was apprenticed N inner 1644 to Jacob
P. Schatborn: Figuurstudies van Nicolaes Berchem'. Bull
Willemsz. de Wei. whose influence is apparent in
Rijkmus.. xxii 1 1974). pp. 3"i6
his first dated -
Preaching to the
W. L. van der Watering: 'The Later Allegorical Paintings of
Children (1661: Schwerin. Staatl. Mus.i. one of the
Nicolaas Berchem', Old Master Paintings (exh. cat-
London, Leger Gals. 1981 1, pp. 14-6
few biblk >ll 10 June 1653
22 Berckheyde: (i) Job Berckheyde

he repaid a loan from the Haarlem Guild of St related to a genre painting of a Fish Market (ex-

Luke, which he subsequently joined on 10 March van Diemen Gal., Berlin; untraced).

1654. During his stay in Heidelberg, Job painted In 1666 Job became member of the Haarlem

portraits and hunting scenes at the court of the society of rhetoricians, De Wijngaardranken. He
Elector Palatine, who rewarded him with a gold served as its agent between 1673 and 1681, and
chain, perhaps the one he wears in his early Self- later as its chairman. In May 1680 he was involved
portrait (c. 1655; Haarlem, Frans Halsmus.), his in the appraisal of the van der Meulen collection
only documented work from the 1650s. Job is in Amsterdam. During the 1680s and 1690s he
better known for his later work, which consists assumed a position of influence within the guild
mainly of interior views of St Bavo's church in and was named a commissioner in January 1682.
Haarlem and simple genre scenes recalling those Records indicate, however, that he rarely attended
of his Haarlem contemporaries Adriaen van meetings.
Ostade and Jan Steen.
While Job's meticulous delineation of church (2) Gerrit (Adriaensz.) Berckheyde

interiors indicates his debt to Pieter Saenredam, {b Haarlem, 6 June 1638; d Haarlem, 10 June 1698).
his introduction of a subtle chiaroscuro and Brother of (1) Job Berckheyde. Gerrit specialized
lusher atmospheric effects suggest the influence in a particular type of architectural subject, the

of Emanuel de Witte. His emphasis on the staffage Townscape. His painted work shows a debt not
varies from work to work: in a canvas of 1676 only to Pieter Saenredam's conception of the
(Detroit, MI, Inst. A.) the subject is simply the building portrait but also to Saenredam's refined
south-east side aisle of St Bavo's, while in a similar draughtsmanship and dispassionate attitude (see

view of 1674 (Amsterdam, Rijksmus.) the genre fig. 5); these qualities mark Berckheyde as a clas-
component is intrusive. His refined palette rein- sicist and akin to Vermeer. Berckheyde favoured
forces the meditative mood, but this sombreness views of monuments on large open squares, a
is relieved by the judicious introduction of pat- choice that distinguishes him from the other
terns of light dappling the walls and floor. After great Dutch townscape painter, Jan van der
1668 Job painted several views of the Stock Heyden, who preferred views along canals in
Exchange in Amsterdam (Amsterdam, Hist. Mus.; which clarity was sacrificed for pictorial effect.
Rotterdam, Boymans-van Beuningen; Frankfurt- Gerrit's Dutch views are invariably topograph-
am-Main, Stadel. Kstinst.), influenced by de Witte. ically correct, but this is not true of those of
The signature and date of his only townscape, Cologne (e.g. Street in Cologne with the Church
Oude Gracht in Haarlem (1666; The Hague, of the Holy Apostles; Schwerin, Staatl. Mus.).
Mauritshuis), depicting a canal now filled in, were Although individual elements are accurately
added later. depicted, their juxtaposition is frequently capri-
Job combined portraiture and genre in The cious. This suggests that they were not executed
Baker (1681; Worcester, MA, A. Mus.), which is from life in the 1650s, as has been claimed, but
perhaps a The composition is based
self-portrait. were painted later in his Haarlem studio, using
on his characteristic motif of a figure framed by sketches and drawings made by him in Cologne,
an arch. The bakery theme appears in two other and possibly some by other artists as well.
works from the 1680s: Baker's Shop (Oberlin Coll., Gerrit's works from the 1660s record the land-
OH, Allen Mem. A. Mus.) and Baker's Shop with a marks of his native city, and he repeated these sub-
Woman Making Lace (The Hague, Dienst Verspr. jects throughout his career. While his portraits of
Rijkscol.). Also from the same decade are his the Town Hall (Haarlem, Frans Halsmus.) indicate
Musician at a Window (Schwerin, Staatl. Mus.) and his early dependence on Saenredam, he intro-
the Pigment Seller (Leipzig, Mus. Bild. Kst.). The duced several devices of his own: for instance, he
only drawing attributed to Job, Standing Man retained Saenredam's limited staffage but placed
Leaning on a Cradle (Liibeck, St-Annen-Mus.), is his figures in a way that enhanced the structural
Berckheyde: (2) Cerrit Berckheyde 23

5. Gerrit Berckheyde: Palace of the Dukes of Burgundy in Brussels (The Hague, Mauritshuis

components of the architectural backdrop. He was the canals in the old city centre, some ol which
also more adventurous in his use of light, creat- were composed as ii from .1 bridge or boat:
ing strong contrasts that organize the composi- these include the Nieuwerijds VootbUTgwal
tions as well as convey atmosphere and mood. He (Amsterdam. Hist. Mus.i. the Snivel iSan Iraiuisco.

used this method in his depictions of the Grote CA. de Young Mem. Mus.), the KlovtniersbuigwaJ
Markt with the Church of St Bavo (Leipzig, Mus. and the Grimburgwal (Amsterdam, Hist Musi.
Bild. Kst.); like his brother Job, Gerrit also painted in the 1670s Gerrit began producing views ol

several interior views of the church (Hamburg. the palatial houses innit along the extension
Ksthalle). These suggest a debt to Emanuel de of the Herengracht (Amsterdam, Rijksmus.) ami
Witte's lush and evocative lighting schemes. the Binnen Amstel (Amsterdam, <• ol

Following the completion of Amsterdam low 11 Several ol Gerrit's townscapes from the early
Hall in the mid-i66os, Gerrit painted several have dramatic foreshortening ami oblique
formal portraits of it (e.g. three different versions, angles thai suggest tin- influence ol Daniel
1672, 1673 1693; Amsterdam. Rijksmus.)
and Vbsmaer ( // Delft, 1650 1700) rwo works from
as well as panoramic views of The Dam, the this group, the ( hunli <>/ ^1 liavo 111 Haarlem ami

large public square on which it stood (Antwerp the /own //a// in Amsterdam (both Cambridge,
Kon. Acad. S. Kst.). He also painted scenes along Fitzwilliam), were created as pendants, one ol
24 Berckheyde: (2) Cerrit Berckheyde

several such pairs in Gerrit's oeuvre. Views of those of Cornells Bega, to whom most have been
the Grote Markt in Haarlem (Florence, Uffizi; see traditionally ascribed.

col. pi. Ill) and The Dam (Amsterdam, Hist. Mus.) From 1666 to 1681 Gerrit was a member of
pointedly juxtapose Gothic, Renaissance and the same Haarlem society of rhetoricians, De
Baroque buildings and thus reveal Berckheyde's Wijngaardranken, as his brother; he also served as
sensitivity to period styles. Other Haarlem views an official of the Haarlem Guild of St Luke in

include the Spaarne with the Weigh House 1691-5. Although he had no formal shop or stu-
(Douai, Mus. Mun.) and the City Gates (Antwerp, dents, his works influenced such later townscape
Mus. Smidt van Gelderi; he also painted the specialists as Timotheus de Graaf ( fl 1682-1718),
nearby country houses of Egmont (Amsterdam, Jan ten Compe and Isaac Ouwater. He is known
Rijksmus.), Heemstede and Elswout (Haarlem, to have worked with Jan van Huchtenburg
Frans Halsmus.). (1647-1733), but the question of his collaboration
Berckheyde's scenes of the Hofvijver with the with Nicolas Guerard (d 1719), Dirk Maas and
Binnenhof in The Hague (Salzburg, Residenzgal.) Johannes Lingelbach remains open. On returning
date from the 1680s and 1690s, reflecting the home from a cabaret on 10 January 1698, Gerrit
contemporary popularity of the House of Orange fell into the Brouwersvaart and drowned; he was
Nassau. His depictions of the royal residence buried in the nave of St Jan's four days later.

recall Hendrick Pacx's (i6o2/3-?c. 1658) canvases

showing the Princes of Orange parading with Bibliography
their families and retinues around the Hofvijver. A. Houbraken: De groote schouburgh (1718-21).
Gerrit represented this site from all angles, pro- pp. 189-97
ducing views of the Gevangenpoort (The Hague, H. Jantzen: Das niederlandische Architecturbild (Leipzig.

Mauritshuis), the Korte Vijverberg (The Hague, 1910). pp. 87-8

Gemeentemus.) and the Mauritshuis. He also W. Stechow: 'Job Berckheyde's Bakery Shop'. Allen Mem.

painted portraits of the Ridderzaal (Madrid, Mus. A. Mus. Bull., xv/i (1957). PP 5-14
W. Liedtke: Architectural Painting in Delft: Gerard
Thyssen-Bornemisza). While some of these views
Houckgeest. Hendrick van Vliet. Emanuel de Witte
in The Hague have robust forms painted in satu-
(Doornspijk. 1977K PP- 73~4
rated colours, others have more attenuated figures
The Dutch Cityscape and its Sources in the Seventeenth
and paler tonalities that anticipate the Rococo.
Century {exh. cat.. Amsterdam. Hist. Mus.; Toronto,
Gerrit also produced a small number of Italianate
A.G. Ont.; 1977)
landscapes with ruins, pastoral subjects and Old Master Drawings from the Gordon Collection lexh.
hunting scenes (e.g. Strasbourg, Mus. B.-A.). cat. by F. W. Robinson, Framingham, MA. Danforth
Several figure studies in red or black chalk have Mus. A.. 1977)
been attributed to Gerrit, some of which are J. A. Welu: Job Berckheyde's Baker*. Worcester A. Mus.
connected with paintings. These include the Study Bull., n. s.. vi/3 (1977), pp. 1-9

of a Little Boy with a Basket (Amsterdam, A Mirror of Sature: Dutch Paintings from the Collection

Rijksmus.) and the Study of a Woman Seated of Mr & Mrs Edward William Carter {exh. cat. by J.

Beside a Barrel (Brookline, MA, Gordon priv. Walsh jr and C. P. Schneider, Los Angeles, Co. Mus. A.;

see 1977 exh. cat., no. 11, as Bega), Boston, MA. Mus. F.A.: New York. Met.: 1981-21
both of which
Masters of Seventeenth-century Dutch Genre Painting
are preparatory for the Oriental Market Hall (ex-
lexh. cat., ed. P. C. Sutton; Philadelphia. PA. Mus. A.:
Munich, Gebhardt, 1971); two others, including
W. Berlin, Gemaldegal.; London. RA; 1984I. pp. 138-9,
Seated Man with a Pipe (Berlin, Kupferstichkab.),
cat. no. 6
are inscribed with his name. Like other draughts-
P. Biesboer: 'Schilderijen over de kerk' [Paintings of the
men of the so-called Haarlem school, Berckheyde
church], De Bavo te Boek (Haarlem. 96-104
19851. pp.
drew in a highly consistent chalk style, using C. Lawrence: Gerrit Berckheyde (1638-981: Haarlem
regular parallel hatching to shade the figures. Cityscape Painter (Doornspijk. 1991)
Many of his drawings have been confused with CYNTHIA LAWRENCE
Bijlert, Jan van 25

Beyeren, Abraham van Van Beyeren's banquet still-lifes date from the
(£>The Hague, 1620-21; d Overschie, 1690). Dutch 1650s and 1660s. These large pictures generally
painter. He painted seascapes as well as fruit, depict a table laden with a variety of ornate glass-
game and banquet still-lifes. He almost
flower, fish, ware, gilded goblets, nautilus cups, silver dishes.
always signed these works with his monogram avb, Chinese porcelains, costly fruits and other delica-
but he dated only a few. This, together with the cies (e.g. Banquet Still-life, 1655; Worcester. MA. A.
fact that he painted diverse subjects simultane- Mus.). Many of these objects appear repeatedly in
ously and his style changed makes it diffi-
little, his paintings. Often a pocket watch is included as
cult to establish a chronology. He became a master a vanitas symbol warning the viewer of the brevity
in The Hague in 1640 and was related by marriage of life and the transience of earthly pleasures. Van
to the fish painter Pieter de Putter (before 1600-59). Beyeren's grandiose compositions were influenced
Van Beyeren lived in Delft from 1657 to 1661 and by Jan de Heem but are more broadly painted and
was again The Hague between 1663 and 1669.
in employ a softer palette. Van Beyeren also executed
He was then recorded in Amsterdam, Alkmaar and some smaller, more intimate paintings of fruit

Gouda before settling in Overschie in 1678. and glassware related to those of Jacques de
Van Beyeren's earliest marine paintings appear Claeuw (c. 1620-79 or after). The pictures often
to date from the early 1640s. They characteristi- display a warm tonal quality and subtle atmos-
cally include high cloud-filled skies, choppy seas pheric effects (e.g. Still-life with Roemer and Fruit,

and fishing boats under sail (e.g. Riverview, Stockholm. Nmus.). His rare flower-pieces display
Amsterdam, Rijksmus.). The artist employed a soft, a similar soft touch and a preference for pink, red

painterly brushstroke and grey tonal scheme to and white specimens (e.g. Vase of Flowers: The
create moist atmospheric effects. In these pictures Hague, Mauritshuis).
he was strongly influenced by Jan van Goyen, who
settled in The Hague in 1631. Bibliography

Van Beyeren is the undisputed master of Dutch H. E. van Gelder: IV. C. Heda. A. van Beyeren. W. Kalt.

fish painting. He depicted a great variety of sea Palet Series (Amsterdam. 1941I. pp. 21-38
I. Bergstrom: Studier i Hollandskt stillebenmaleri under
creatures in a most lifelike manner, their bodies
i6oo-talet (Stockholm. 1947): Eng. trans, by C.
falling gracefully across baskets, piled on top of
Hedstrom and G. Taylor as Dutch Still-life Painting in
one another or tied head-to-tail (e.g. Fish-piece,
the Seventeenth Century (New York. 1951-
Brussels, Mus. A. Anc). Most of these works depict
S. A. Sullivan: 'A Banquet-piece with Vanitas Implicit
the fish on a table in a rustic interior with a Bull. Cleveland MtU
view of the sea through a background window. — : Abraham van H< -enj-hord in the G
However, a group of five still-lifes show fish Kerk. Maasluis'. Oud-Holland. d (1987), pp 115-25
arranged on a beach with fishermen along the SCOT I K. SULLIVAN
distant shore and a large cloud-filled sky above.
These may have been the artist's earliest versions
of the subject and thus represent a transitional
stage between his marine paintings and later fish Bijlert [Bylert], Jan (Hermansz.) van
pieces. In the fish paintings his palette was limited \b Utrecht.4597 B; d Utrecht, bur 12 Nov i<

to the natural brown and grey shades of th«. Dutch painter He was the son of the Utrecht
creatures, but he enlivened this through the pink glass painter Herman BeerntSl van Rijlei

tones of the sliced fish and the rich contrast ol 1566 before 1615) |an must have trained first with
light as it played across their slick surfaces, repro- his father hut was later apprenticed to the painter

ducing the tactile qualities of glistening skin and Abraham Bloemaert After his initial training, he

translucent flesh with fluid strokes. Often he visited France and travelled to Italy, as did other
included crustaceans, earthenware pots, copper artists from Utrecht. Jan staved mainly in Rj

scales and other fishing paraphernalia. where he became a member of the Schildersbent:
: : r


= : e :
_" = i : : "zzz-z'". : z :
: _ I z • :
—= r. = zzz
:zt ::'-=: "_"::: = ;:.: ir::sii i=i ::~ = _~;e: :.-.; G. J. BoogLinealHL 'JJam van B^Jert, srhiMrr van Utrecht
influence of the work of Caravaggio; after their --:
" :: :

re:--" r_:~ = :~:= -"--7 ::' ~z:z.~.zzi • - '-e:i— :

>:-;-.•- ii i-= V::;:-: lirivirr.r.: zzzz'tz :'zi

•~ :~ Nf« ..p.: :r. :r.r I-i.ier. .r

;-''.= ::' -in ir.r. : :: :hr.: :
; :i'. i Tr.e

I.i:i". izref : '_ = ?r.'.= :.:;:: ;- -.

ir. E:;'.er: ? zz:z:
: = : - \ ir.; 1 ." ;.=.:»=• ".
:re;r.: Z=r.:
paintings, such as St Sebastian Tended by Irene
•.-:_ 7;-:i_ S-hl : ?; zzz. r.~:r .'.fi
-i.« rf
7 7
1 1626: Brunswick. Herzog Anton Ulrich-Mus.D, is
; ;-:_.- i-ff-er. "i- ••-;-
5. e.-r --- -:--: .
;-i:i:: = r.:ri :;• :r.r _* = ::>::: r.z :r..i:: - :_:: :r.t

;_:-.-; :
:':' ::':'-=
7 :::_:= >: ::.,: :'-= :-iz = pnccat. rai$J]

is seen close-np and by an attempt to achieve a PADL HOYS JA

Zzz'zrz: :±z:.±: .zzz. :zzz'.:zzZ rerre^er.ii:: : r.

B.'.r- ;:-:.- .:=- :: ri::.: :r. :r.:s j-.-'.e :hr: _zr. : _:

:i= -. f1 : : i :i";:_.i:/. rrM_;::ve :-::>: Bisschop. Jan de ^Episcopius, Joannes]

?:::i:;. ;--::::: ':;. Z-eriri > zz ~:-:r.:rj:
•'-: -11 i'.: = ii;. :_rr.r_ :t:~ ;,:^:::.>- :: :'.;>

sidsm, around 1630 van Bijlert adopted a more :;. r:::e?*::r. ir. -
1 >•...•.: i~ i:=_: _:^__-^"^r.
:'.!?? ::.:.-; >--".= His ri:r.::r.i:j r-rii— = :ri:e: Ai the Amsterdam Latin school his teacher was
zzz zz± ;:.:_:5 ;:ir.:e: >:~ e:.— e> :r-::>::^.:.. the humanist Hadrian us Junius (15 nder
i ?::.-£ !::.-- :: :.- = v. ::>; :: S:~ :r. . : _e: Yi- whose supervision he wrote a poem about the
E:;l = n ri:r.:ri r.ezir.: jure::: su:'- i* :r.e Y..-^ Atheneum DJustre and Collegium Auriacum in
and Child and personifications of Charity <<e.g. Breda, published by Johannes Blaeu in 1647 From
Quimper, Mus. B.-A„ and Sibiu. Brukenthal Mus. l 1648 to 1652 he read law at Leiden Universi:
During the 1630s he also painted compositions 1653 he married Anna van Baerle. daughter
'••-.:'- j— ='.'.
rlrure? Tr.e — :?: :
— r-zr.i-: e\:~ r'.e famous professor and theologian Caspar van
:: ::.:> s
:'-= z.-.j::r. 7:r:e :rr::::r.; :.-.e J^-j_r: Baerle 1(1584-16481. and throughout bis life he
:;' Alzxzzzzz i-j J.'f:::?; re:'..- moved in prominent intellectual circles. One of
7- e := :? 1 s
~ z.~. r_ u — :e : ::ri.r.:.r_- : r. •• h : : r. : r. e his closest friends was Constantijn Huygens the;:r ?-.-"_
= :: ;.;
— el:i v=- :s ;.:u:.:e: •• r. •••_? i->: zr. z~.z~.zz: z:zzzz:*—.zz
r"ir-: H: -.-=-.•=: -.-=.-
H: .er: zeue:; '.'.;. use:: :r.:? with a very similar drawing style <especia:
>—.i7-::rur= Turn: ::: Zr~:r ?: = -:? :: r:::r.e.s :: landscapes^, and who was probably a member—
~ uiiii'. z^'JLtr.zL rs ;
.~^i::: :r. : ?r 'r-e:~ z :i.-:e: with Jacob van der Doe Hem •

:- V::r:-: : 1::: I _:,; ?:;- ;-:: :; :

- -.-;-
Doudnns n 630-9- ^-of the small drawing academy
Bglert was dean of the Guild of St Luke in Utrecht. that de Bisschop founded in The Hague. Although
A: : hi; ;.— r r.:s ruri'.i .~:/_iri lui:.: ie "-.- de Bisschop lived for a while in a house adjoin-
Zr:::i— it ?:_:-. e: :-:--; i-i .V::i;.ir. ing Qaes Moeyaerts in Amsterdarr.
1r > }- .z~'r.:z. i '•'•'y.~ ir.f "..£?
r ;

i ^:er run! :r. probably Bartbolomeus Breenbergh. also living in

the 1660s. Amsterdam at the time, rather than Mo
- ^ : -
~ ^ :
'• ~-~. l.'.zz'. :-;'.'_ i tz 'z"-7z:~zj-.±7i who most influenced his style of drawing. De
izz ~:r.e> :- V::r:r.: :':: zrirn — enr-er* ::'
l:-~z'r.:~: zr.zzz ~- : z:z± e::r.:-;« ^::r: :;::.: -;•
:^r S:mV •,:;. L.- ;
;r. : r r. :i— ./. "".""-
: 5= r::::i.:> by Breenbergh: Joseph Selling Com to the People
he painted over the vears 'examples in the famuy"s 11644: untraced) and the Martyrdom of 5:
:::—;: ::_~:r. s= H_- :e L:r.j;r. ::=- "i~ v;- pence (1647: Frankfurt am Main. Stade:
^-. -- :: ~'--~--.zi i
:—.t .: :.::_:=; :'-= r-es: ;:..e:- Besides landscape drawings, the earliest of
tion of which is in the Centraal Museum. Utrecht. •• -
.: - ':.:* zz- - : : -zT.r.z:zzz:. lz:zzz :?!::-

Bisschop, Jan de 27

and Hoogstraten (e.g. Beckeneelshuisje (Nieuwe Signorum veterum icones (1668-9), with 100
Kerk),Amsterdam, 1648; Amsterdam, Rijksmus.), prints after Classical sculptures, dedicated to

de Bisschop made numerous figure studies (e.g. Johannes Wtenbogaard and Constantijn Huygens,
Jacobus Ewijk Reading; Amsterdam, Rijksmus.) and the Paradigmala graphices variorum artiti-

and drawings after Classical sculptures and cum (1671), with prints after Old Master drawings
famous paintings (mostly by Italian artists). The and dedicated to Jan Six. Some of the Classical
latter drawings, which Houbraken called 'imita- sculptures reproduced in de Bisschop's Icones
tions', were carried out in a particularly fluid were from the 17th-century collections of Gerrit
technique using brush and luminous wash. De Uylenburgh and Hendrik Scholten, to which de
Bisschop also designed a number of title-pages for Bisschop had direct access; most of the Old Master
books, mostly by Classical authors, and there are drawings in the Paradigmala were based on works
some drawings from 1660 recording the Departure by Italians: Annibale Carracci, Domenichino,
of King Charles II from Scheveningen (e.g. Francesco Salviati, Cavaliere d'Arpino, Giulio
Amsterdam, Rijksmus.). Romano and others. The sequence of the Icones
Almost all of de Bisschop's drawings, whether adhered strictly to the Classical tradition: first the

drawn in pen or with the brush, were executed in individual parts of the body were illustrated (this
a warm golden-brown ink, known as 'bisschops- section was left unfinished at de Bisschop's pre-
inkt' after the artist. According to Willem Goeree mature death), then complete figures, followed by

in his Inleiding tot de algemeene teyken-konst poses and suggestions for compositions with more
('Introduction to the general art of drawing', than one figure. The punts were intended to

Amsterdam, 1697, p. 91), de Bisschop mixed Indian provide artists with examples of ideal poses. From
ink with a bit of copper red to obtain this 'modest the paintings of Adriaen van der Weill and
colour of charm and beauty'. As did Breenbergh, Nicolaes Verkolje, it is clear just how influential

de Bisschop drew over a preliminary sketch in black these studies were in the development of Dutch
chalk, a technique imitated by Jacob van der Ulft classical painting during the late 17th century
(1627-89) and Jan Goeree (1670-1731), some of
whose drawings are virtual copies of those of Writings

made several mez- Bisschop. Jan de

de Bisschop. Wallerant Vaillant
zotints based on de Bisschop's drawings of paint-
ings; de Bisschop's brush and wash technique in
Signorum veterum icones, 2 vols (The Hague, 1668-91
these drawings was strongly determined by the use
Paradigm.iu graphices variorum artificum (The Hague,
of chiaroscuro, which made it easy for Vaillant to
1671. rev. Amsterdam
translate the images into mezzotint. Other artists
who made prints of his drawings include Hendrick Bibliography
Bary (b 1640), David Philippe and Petrus Philippe. Thieme-Becker 'Episcopius'
Although de Bisschop's drawings include a A. Houbraken: Degroote tchoubut\
considerable number of Italianate landscapes (e.g. j. G. van Gelder Jan de Bisschop, 11 to*

View of Rome, ?i6sos; New York, Pierpont Morgan Holland, La

Lib.), he may not have been to Italy himself, and

— : 'De ongenoemde "inventi

geschiedenis van degraHsche kunsf n j.m

his Italian views could have been composed with
Louis Lebeer (Antwerp, 1975). PP '

the help of prints and drawings by others who

I G. van Gelder and 1 I<>m fan i/<- Bisschop and hit h
had, such as Willem Doudijns, Adriaen Bakker
and Paradigmata (Doornspijk
(b 1635-6), Jacob Matham and Dirck Ferreris
oius: fan de Bis*

11 en
(1639-93). He certainly depended on drawings by tekenaar/Lawyer and Draughtsman (exh i.n byl 1

other artists as well as the illustrations from |ellema and M. Plomp, Amsterdam, Rembrandthuts,

Francois Perrier's Icones (Paris, 1645) for his two

influential series of prints in book form, the (.IK I I I
28 Bloemaert

Bloemaert to him, are now believed to be the work of Abraham

Dutch family of artists. Cornelis Bloemaert I Blommaert ( fl 1669-83) from Middelburg (see Bok

(b Dordrecht, c. 1540; d Utrecht, bur Nov 1593) 1 and Roethlisberger). Frederick Bloemaert (b

was an architect, sculptor and teacher, whose Utrecht, c. 1616; d Utrecht, 11 June 1690) worked
pupils included Hendrick de Keyser I. In 1567 he exclusively as an engraver; almost all his prints

visited 's Hertogenbosch in order to repair the city were after his father's compositions. These include
gatesand the pulpit of the St Janskerk, which had the engravings for his father's Konstryk tekenboek
been damaged in 1566 during the Iconoclastic Fury. ('Artistic drawing book'), which was reprinted
From 1576 he lived in Utrecht, where in 1586 he many times up to the 19th century.
collaborated on decorations for the ceremonial
entry of Robert Dudley, 1st Earl of Leicester and
self-styled Governor General of the United Prov-
inces. From 1591 to 1593 Bloemaert was master Prints
builder of Amsterdam. His son Abraham Bloemaert Oorspronkelyk en vermaard konstryk tekenboek van
{b 1566) was the most gifted member of the family Abraham Bloemaert, geestryk getekent, en meesterlyk

and became one of the most important painters gegraveert by zyn zoon Frederik Bloemaert

working in Utrecht in the first half of the 17th cen- (Amsterdam, 1711)

tury. Four of Abraham's sons also worked as artists,

all of them receiving their initial training from
Hollstein: Dut. & Flem.; Thieme-Becker; Wurzbach
their father. The eldest son, Hendrick Bloemaert K. van Mander: Schilder-boeck (|i6o3]-i6o4). fol. 297
(b Utrecht, 1601-2; d Utrecht, 30 Dec 1672), was a M. G. Roethlisberger and M. J. Bok: Abraham Bloemaert
painter and poet. Hendrick travelled to Italy and and his Sons: Paintings and Prints, 2 vols (Doornspijk,

was in Rome in 1627; he returned to Utrecht 1993)

c. 1630. His oeuvre includes religious works, mytho- M. J. Bok and M. Roethlisberger: 'Not Adriaen Bloemaert

logical and genre scenes and portraits. His best but Abraham Blommaert (of Middelburg), Landscape

works are those in which he combined the Painter', Oud-Holland, cix (1995)
style of

the Utrecht Caravaggisti with the decorative .nan-

ner of his father. As a poet, Hendrick is best known (1) Abraham Bloemaert
for his rhymed translation of Guarini's II pastor (bGorinchem, 24 Dec 1566; dUtrecht, 13 Jan 1651).
fido (Venice, 1590). Abraham Bloemaert's second Painter, draughtsman, writer and teacher. His
son, Cornelis Bloemaert II (b Utrecht, 1603; dRome, long, successful career and many prominent
71684), studied with his father, Gerrit van Hont- pupils, especially among the Utrecht Caravaggisti,
horst and Crispijn de Passe I, but although he was made him one of Utrecht's principal painters in
originally trained as a painter, he devoted himself the first half of the 17th century. During his life-

primarily to printmaking (see Hollstein,nos 1-321). time he enjoyed high esteem for his paintings of
In 1630 Cornelis the younger travelled to Paris and religious and mythological subjects and for his
then to Rome, where he made prints after paint- numerous drawings. At first he worked in a
ings and sculptures in major collections. He also Mannerist style, then in a Caravaggesque manner,
made engravings after works by his father (e.g. six finally adopting a distinctive, decorative synthesis
Pastorals, Hollstein, nos 212-15). Another of Abra- of both approaches.
ham's sons, Adriaen Bloemaert (b Utrecht, c. 1609;
d Utrecht, 8 Jan 1666), was a painter, draughtsman 7. Life and painted work
and perhaps an engraver. He travelled to Italy
also According to van Mander, as a child Bloemaert
and worked for a time in Salzburg, where in 1637 moved with his family from Gorinchem to 's

he painted eight canvases: the Mysteries of the Hertogenbosch and from there to Utrecht. He
Rosary (all U. Salzburg, Aula Academica). The land- began to draw in Utrecht, under the direction of
scapes signed A. Blommaert, which are attributed his father, Cornelis Bloemaert I, copying works by
Bloemaert: (i) Abraham Bloemaert 29

Frans Floris. He was apprenticed to the painter poses. The distinction between foreground and
Gerrit Splinter (fl 1569-89) but remained with background is emphasized by colour: warm fore-

him for only two weeks. His second teacher, Joos ground colours, such as brown and red, contrast

de Beer (d 1599), was a mediocre painter in van with the cooler greens and grey-whites of the back-
Mander's view, although he possessed an excellent ground. Although the muscular figures betray the
collection of paintings, including works by Dirck considerable influence of Cornelis Cornelisz. van
Barendsz. and Anthonie Blocklandt. In prepara- Haarlem's characteristically Mannerist works of
tion for an apprenticeship with Blocklandt (then the late 1580s, they are distinguished by their lyri-

the most important painter in Utrecht), Bloemaert cal character: strong emotion and violence are
was sent by his father to study with an unnamed alien to Bloemaert, and his modelling of the mus-
bailiff at Hedel Castle, but the bailiff used cles is softer. Several of Bloemaert s Mannerist
Bloemaert as a house servant rather than instruct- works before c. 1600 represent religious and mytho-
ing him, and Bloemaert returned home empty- logical subjects not previously depicted in Dutch
handed after 18 months. Then, c. 1582, he travelled art, such as the Death of the Children of Niobe and
to Paris, where he studied first with Jehan Bassot, the Burning of Troy (Frankfurt am Main. Stadel.
later with a 'Maitre Herry' and finally with Kstinst. & Stadt. Gal.). The latter is one of several
Hieronymous Francken. (In later years Bloemaert loosely painted nocturnes executed c. 1593: these
complained bitterly of his fragmented training, small panels, which also include two versions
under no fewer than six masters.) Before leaving of Judith (Vienna, Ksthist. Mus.; see fig. 6: and
Paris, he came in contact with French Mannerist Frankfurt am Main, Stadel. Kstinst. & Stadt G
works from the school of Fontainebleau. By 1585 reveal a combination of brilliant lighting effects

he was back in Utrecht, where he probably worked and bright acidic colours.
with his father. In April 1591 he accompanied him After 1595 the transition between the fore-
to Amsterdam, of which he became a citizen on ground and background in Bloemaert's works
13 October. In May 1592, the banns proclaimed in became less abrupt. He deployed the figures more
both Utrecht and Amsterdam, he married Judith evenly within the picture space, as in Moses
van Schonenburgh (d 1599), a wealthy spinster 20 Striking Water from the Rock (1596; New York,

years his senior; this marriage remained childless. Met.). Landscape elements became mure im-

A year later he returned to Utrecht, where he portant after 1596. as can be seen, for example,
remained for the rest of his life. in St John the Baptist Preaching (Amsterdam.
Two circular paintings, Bacchus and Ceres Rijksmus.) and the Baptism (Ham House, Sui

(both Buscot Park, Oxon, NT) were recognized NT); powerful tree formations in particular are

by Roethlisberger as probably the earliest known prominent in his work of this period The attitudes
works by Bloemaert (see Roethlisberger, 1994)- They of the figures remain unnatural, however, dnd the
show a strong influence of the work of Frans musculature is still exaggerated.
Floris and the Fontainebleau school. The earliest After the death of his tirst wife, Bloemaert
known dated paintings, the Death of the Children married Gerarda de Ron. the daughter ol a local

of Niobe (1591; Copenhagen, Stat. Mus. Kst) and brewer, on 12 October 1600: they had main chil-

Apollo and Daphne (1592; ex-Schles. Mus. Bild. Kst.. dren, tour of whom became artists Around this

Breslau; ? destr.), were executed in Amsterdam in time his work manifested a development that
a style strongly related to the late Mannerist style had occurred earlier 111 Haarlem, influenced bv
influenced by Bartholomaus Spranger that was Hendrick Goltzius's journey to Italy. Tin
current in Haarlem at that time. In works of this aled poses used bv Bartholomaus Spranger began

period one part of the scene, often the principal VC way to more relaxed, natural figures who
subject, takes place in the background, while move freely, usually within more naturalistic sur-

the foreground is filled with large, usually nude, roundings, giving the paintings of tin

figures, who are presented in unnaturally twisted such as the Baptism (160a; Ottawa ' nore
30 Bloemaert: (i) Abraham Bloemaert

6. Abraham Bloemart: Judith Shows the Head of Holofernes to the People. 1593 (Vienna, Kunsthistorisches Museum)

subdued Mannerism. At the same time he painted Clares in 's Hertogenbosch, where his sister

his first landscapes with picturesque ruined cot- Barbara was a nun, and in 1615 Christ and the
tages, in which the religious or mythological Virgin before God the Father for the new high
figures play a subordinate role, such as the Parable altar of the St Janskerk in the same town. In 1611
of the Sower (1605; print by Jacob Matham after he was one of the founders of the Utrecht Guild
Bloemaert, Hollstein, xi, p. 221) and Tobias and of St Luke.
the Angel (St Petersburg, Hermitage). Country life Bloemaert's career reached a peak in the 1620s:
was to remain a favourite subject, which he influenced by his pupil Gerrit van Honthorst. who
depicted with an increasing naturalism; however, had returned from Italy in 1620. and other Utrecht
as van Mander recommended, he drew such motifs Caravaggisti, he painted several Caravaggesque
as peasant cottages, dovecotes and trees from life pieces c. 1623, some of which are notable for
i'naer het leven') and then in his studio composed their use of candlelight effects, as in the Supper
them into imagined scenes ('uyt den geesf). at Emmaus (Brussels, Mus. A. Anc.i and the
Between 1610 and 1615 the Catholic Church Adoration of the Shepherds (Brunswick. Herzog
awarded several important commissions to Anton Ulrich-Mus.). and others for the half-length
Bloemaert, who was a devout Catholic. In 1612 he figures, such as The Flute-player (Utrecht. Cent.
painted an Adoration of the Shepherds (Paris, Mus.). He also made large altarpieces for clandes-
Louvre; see col. pi. IV) for the convent of the Poor tine Catholic churches, including an Adoration of
Bloemaert: (1) Abraham Bloemaert 31

the Shepherds 11623: The Hague, St Jacobskerk) Peasants (1645; Utrecht. Cent. Mus.). In the back-
and an Adoration of the Magi (Utrecht. Cent. ground of his Landscape with a Farmhouse (1650:
Mus.). In 1625 Bloemaert was commissioned by Berlin. Gemaldegal.) is a Mannerist scene of Tobias
Frederick Henry. Stadholder of the Netherlands, and the Angel.
to paint two scenes from the Story of Theagenes
and Chariclea for Honselersdijk: Theagenes, 2. Drawings
Chariclea and the Robbers 1625; Potsdam, Schloss
1 Bloemaert was also a talented draughtsman. His
Sanssouci) and Theagenes Receiving the Prize enormous output, more than 1500 drawings,
from Chariclea 11626; The Hague. Mauritshuis). covers not only figure drawings, peasant cottages.
Still under the influence of the Utrecht nature studies and preparatory studies for paint-
Caravaggisti. he also painted several small pastoral ings, but also countless detailed drawings that
landscapes with peasants and shepherds (e.g. served as models for prints. According to van
Hannover, Niedersachs. Landesmus.). as well as Mander he had "a very nice manner of drawing
half-length shepherds and shepherdesses (e.g. and handling the pen, and he obtained an unusual
Karlsruhe, Staatl. Ksthalle; Toledo, OH. Mus effect by adding a few succulent touches of
Bloemaert's large figural works of the 1620s, such colour'. His drawings are characterized by the
as the Adoration of the Magi and Theagenes great variety of both the techniques he applied
Receiving the Prize from Chariclea, are character- and especially the styles he used. The latter is not
ized by an extremely rich palette, with colours surprising, as he had a long professional life and
varying from citron yellow and bright blue to probably continued drawing until the last year of
penetrating reds, acidic greens and pinks. This his life. His early landscape drawings can be con-
multicoloured mixture enhances the decorative sidered as belonging to the best ever made in this

character of the paintings. The pastoral landscapes genre. On the one hand they still show influence
of the same period, with shepherds and peasants, of such predecessors as Pieter Bruegel the elder
were painted in lighter pastel tints: these found and Hendrick Goltzius, but on the other they
great favour during the 18th century, notably with stand out because of a very precise observation of
Francois Boucher. nature. Compositions from his Mannerist period
Bloemaert's interest in peasant life was were made into prints by. among others. Jan

expressed in the 1630s mainly in studies of heads Saenredam, Jan Muller and Jacques de Gheyn II.
of old men and women (e.g. Stockholm. Nmus.; and later by his sons Cornells and Frederick,
Dresden, Gemaldegal. Alte Meister). These reveal which greatly facilitated the dissemination of his

Bloemaert as a keen observer, though they lack oeuvre. His drawings tremeJy popular and
the psychological depth of similar studies by- were frequently copied. His Konstnk tckei:

Jan Lievens or Rembrandt. Bloemaert's Rest on (Artistic drawing book), a pattern

the Flight to Egypt (1632; Amsterdam. Rijksmus.) arti» Wick Bloemaert and
is set, most unusually, in a peasant hut. In 1635 appeared in numerous editions up to the 19th

Frederick Henry commissioned another painting century.

from Bloemaert for Honselersdijk. this time

the Wedding of Amarillis and Mirtillo (Berlin. 5. Influence and posthumous reputation

Jagdschloss Grunewald), a scene from Guarini's // :eacher. Bloemaert played an important

pastor fido (Venice, 15901. in the formation of a distim

painting. Not onlv were such

Bloemaert's last paintings, executed in the

1640s when he was in his eighties, show his tech- .rrit van Honthorst. Hendricl gghen

nical skill undiminished; their style is still deco- and Jan van Bijlert his pupils, but the Dutch

rative and their subjects increasingly recall his Italianatt- butch. Jan Both and

earlier works, as in Mercury. Argus and Io 11645: Jan Weenix also studied with him. as did |

Vaduz. Samml. Liechtenstein) and Lew and the Gernts/. Cuyp. The great Flemish master Peter
32 Bloemaert: (i) Abraham Bloemaert

Paul Rubens visited him in 1627. Bloemaert's early Bol, Ferdinand

style had on the work of
a significant influence (b Dordrecht, bapt 24 June 1616; d Amsterdam, bur
Joachim Wtewael, but his son Hendrick Bloemaert 24 July 1680). Dutch painter and draughtsman. He
was the only artist who continued to work in his was a pupil and prominent follower of Rembrandt
mature manner. Although Abraham Bloemaert in Amsterdam. His reputation and fame are based
enjoyed high esteem in his own day, his reputa- on his history paintings, which, though success-
tion has, for a long time, up to 1993. suffered from ful at the time, lack originality, and on his por-

the lack of an up-to-date catalogue raisonne of his traits, a genre for which he showed more talent.
entire oeuvre.
1. Life and career
Bibliography His father, a surgeon, belonged to the prosperous
Hollstein: Dut. & Flem.; Thieme-Becker middle class. Ferdinand received his initial train-
K. van Mander: Schilder-boeck (\1603\-1604), fols ing as a painter in Dordrecht from Jacob Gerritsz.
297^2g8r Cuyp. It is possible that he, like Cuyp, worked for
G. Delbanco: Der Maler Abraham Bloemaert (diss., U.
a short time in Utrecht, for his earliest signed
Strasbourg, 1928)
work, Vertumnus and Pomona (c. 1635; London,
M. A. Lavin: 'An Attribution to Abraham Bloemaert'. Oud-
Cevat priv. col., see Blankert, 1982, pi. 1), exhibits
Holland, lxxx (1965). PP- 123-5 [rosailles)
influences of the Utrecht school. Unlike many of
M. Rothlisberger: 'Abraham Bloemaert', Gemalde
his contemporaries, Bol did not travel to Italy, but
bedeutender niederlandischer Meister des 17.

Jahrhunderts (exh. cat., Vienna, Gal. Friederike left for Amsterdam in 1637, at the age of nearly

Pallamar, 1967), pp. 15-26 20, to study in Rembrandt's workshop. The older
Abraham Bloemaert, 1564-1651: Prints and Drawings painter's influence profoundly affected the whole
(exh. cat.. New York, Met.. 1973) of his subsequent career. It is not known how long
G. Vikan: 'Notes on Princeton Drawings, 10: Abraham he remained with Rembrandt; however, there is

Bloemaert', Rec. A. Mus., Princeton U. , xxxiii (1974), no surviving signed and dated work before 1642.
pp. 2-17
This would suggest that he had set up around this
R. S. Slatkin: 'Abraham Bloemaert and Francois Boucher:
time as an independent painter.
Affinity and Relationship', Master Drgs, xiv/3 (1976),
Bol received his first major commission in
pp. 247-60
1649, a group portrait of the Four Regents of
J. Bolten: Method and Practice: Dutch and Flemish
Drawing Books, 1600-1750 (Landau, 1985)
the Amsterdam Lepers' House (Amsterdam, Hist.

Nieuw licht op de Gouden Eeuw (exh. cat., ed. A. Blankert

Mus.). His reputation increased quickly, and he
and L. J. Slatkes; Utrecht, Cent. Mus.; Brunswick. subsequently received commissions from outside
Herzog Anton Ulrich-Mus., 1986-7), pp. 208-17 Amsterdam, for instance for the group portrait of
R. Ruurs: 'The Date of Abraham Bloemaert's Birth', the Officers of the Doelen in Gouda (1653; Gouda,
Hoogsteder-Naumann Mercury, 9 (1989), pp. 4-5 Stedel. Mus. Catharina Gasthuis). Although Bol
J. Bolton: 'Abraham Bloemaert (1564-1651) and his had already lived for some time in Amsterdam, he
Tekenboek', Delineavit & Sculp., 9 (March 1993), became a citizen of the city suddenly in 1652,
pp. 1-10
probably in connection with the decoration of
M. G. Roethlisberger and M. Bok: Abraham Bloemaert
Amsterdam's new town hall, for which the only
and his Sons: Paintings and Prints, 2 vols (Doornspijk,
candidates eligible were natives of the city. The
following year he married Lysbeth Dell (d 1660),
Dawn of the Golden Age: Northern Netherlandish Art.
1580-1620 (exh. cat., ed. G. Luijten and others;
whose father, Elbert Dell, occupied a number of

Amsterdam, Rijksmus.. 1993-4), public offices, including ones at the Admiralty

PP- 300-01 and
passim and the Wine Merchants' Guild. Bol received
M. G. Roethlisberger: 'Early Abraham Bloemaert", Tableau, commissions from these institutions, probably
xvii/3 (1994). PP- 44-51 through the intervention of his father-in-law. Bol

C. J. A. WANSINK lived with Lysbeth Dell on the Fluwelenburgwal,

Bol, Ferdinand 33

in the prosperous part of the city. Their only child Each was asked to design an overmantel that
to survive to adulthood, Elbert Bol, was born the would express the burgomaster's status, prestige
following year. and incorruptibility. Opposite Hinck's Marcus
Among Bol's later commissions is a series of Curtius Dentatua Refusing the Gifts of the
portraits of Admiral Michiel de Ruyter, painted Samnites (1656; in situ) hangs Bol's Pyrrhua and
between 1661 and 1663 on the occasion of the Fabricius (1656; in situ).

journey to Chatham. In 1669 Bol married Anna The combination of Pyrrh us and Dentatua in a

van Arckel (d 1680), the wealthy widow of the trea- single room is unique in Netherlandish painting.
surer of the Admiralty. One of the witnesses at the Plutarch [Fabricius Lusdnus, 21.20) recorded how
wedding, which was held in the Zuiderkerk, the Roman consul Fabricius remained unmoved by
Amsterdam, was Bol's brother-in-law from his first the bribery of King Pyrrhus, who even tried to buy
marriage, Elbert Dell the younger. After this mar- him off with the offer of an elephant. In ai.

riage Bol moved to the Herengracht and appar- when ancient culture was being revived, the bur-
ently stopped painting; there is no surviving work gomasters of Amsterdam were fond of comparing
after 1669. themselves to Roman consuls, whom they sav
prototypes of citizen-administrators of a republic.
2. Work Bol's first compositional sketches are still fairly

(i) History subjects. Bol was clearly very dependent on Rembrandtesque, and the standing figure at the

Rembrandt in his early paintings and drawings; he extreme right of the final composition is derived

copied compositions by his master almost literally, from a figure in Rembrandt's 'Hundred Guilder
such as the biblical scene that probably depicts Print' (c. 1643-9; b. 74)- The large figures and clear

Rachel Being Shown to Jacob (c. 1640; Brunswick, colours in this complex composition combine
Herzog Anton Ulrich-Mus.), for which Rembrandt's with surface divisions to achieve a spacious effect

Danae (1636; St Petersburg, Hermitage; see col. that was entirely to the taste of the commission-

pi. XXXI) served as the model. The Three Marys by ing body. An explicatory poem by Joost van den

the Tomb (1644; Copenhagen, Stat. Mus. Kst) is one Vondel (1587-1679) is written on the wall under

of Bol's earliest dated paintings. Bol's talent was the two paintings. For another room in the

not at its best in this or his other narrative scenes. Stadhuis. the aldermen's chamber, where trials

In general, they are rather statically conceived. were conducted, Bol painted another overmantel,
Nevertheless, he received many such commissions Moses with the Tablets of the Law(c. 1664: in situ).
for history paintings throughout his career, and Bol was commissioned by the Admiralty to

he adapted his style over the years to conform to portray its guiding principles Ol reward and pun-
prevailing fashions. ishment same manner as he had done in
in the

After 1650 Bol turned away from Rembrandt's his paintings for the new Stadhuis. For their

influence and adopted a new style of history paint- council chain her he designed two overmantels

ing, one that was more classicizing and elaborate Aeneas Distributing Prizes (The Hague, Diensl

and had recently been employed with great Verspr. RijkSCOl., on loan to Utrecht, Knksunivi

success in the decoration of the Huis ten Bosch and Consul Titus Manliiis Torquatus Beheading

near The Hague. The new town hall (now the his son (Imperii Manliana) (The Hague, Diensl
Koninklijk Palais) in Amsterdam, the construction Verspr. RijkscoL, on loan to Amsterdam,
of which began in 1648, led to more commissions Rijksmus.)- In l66l, instead ot another group por-

for this style of decorative painting, which suited trait, the regents Of the lepers' House commis-

the majestic character of the classicizing archi- sioned a painting ot a biblical theme to illustrate

tecture. Bol was commissioned along with Govaerl the regents' care tor the sick, instead ot usmu the

Flinck, another leading Amsterdam history traditional comparison of Dives au (\ Ia/arus. Bol

painter, to decorate the burgomaster's office, one chose the old Testament story from 2 Kings

of the most important rooms in the new Stadhuis. the Prophet Elisha Refusing the Gifts ot Naaman
: . Ferdinand

the Syrian (Amsterdam, Hist. Mus): the regents

could identify with the incorruptible prophet
Elisha, and his greedy servant Gehazi provided an
example for the institution's attendants of behav-

iour to avoid.
Bol's Offering of Gifts at the Building of
Solomon's Temple (1669: Amsterdam, Ned.
Hervormde Gemeente), dating from the year of his
second marriage, may have been painted to

encourage churchgoers to emulate his own gen-

erosity: Bol made this large canvas, apparently his

last work, a gift to the congregation. The work

is not distinguished for its originality and is a

variation on an earlier sketch that probably rep-

resents the Incorruptibility of Fabricius 1 1656;

Amsterdam, Hist. Mus.).

(ii) Portraits. Bol's earliest signed and dated por-

traits, from 1642-4. include a series of portraits

of women, dressed according to the prevailing

fashion, with large lace ruffs (e.g. 1642: Berlin.
Gemaldegal.). These early portraits are a continu- Jinand Bol: Portrait of a Man. 1662 (Le Puy-en-Velay.

ation of the style of Rembrandt but without his Musee Crozatien

ability to convey the individuality of the sitter.

For this reason, the attribution to Bol of the vivid The Hague. Mauritshuis). were painted against a

portrait of Elisabeth Bas (Amsterdam. Rijksmus.i landscape background. The sitter is painted in the
cannot be correct. Flemish manner: the background landscape is

Like Rembrandt. Bol painted many tronies pure Rembrandt. More of Bol's portraits, however,
(character heads) and also imitated Rembrandt's are set in an interior rather than against a land-
custom of portraying men in a hat or beret. Not scape background (see col. pi. vi. Most of these
until 1649- with his first major commission for a show the sitter in three-quarter length, on a chair,
group portrait, did Bol's work become somewhat with a table just visible and a curtain at the back.
more independent: the Four Regents of the Examples include the Self-portrait and its pendant
Amsterdam Lepers' House is less in the manner of portrait of Elisabeth Dell (both 1653: Dell Park,
Rembrandt than in the tradition of earlier Surrey, B. Schroeder priv. col., see Blankert. 1982.

painters such as Thomas de Keyser. Although it pi. 1631. The best known of Bol's numerous self-
initially seems to be a completely natural group portraits is his last (c. 1669: Amsterdam.
of people, it is actually a composed tableau. The Rijksmus.i. with a frame embossed with sunflow-
Regents' duty to care for lepers is underlined by was probably painted on the occasion of his
ers. It
the presence of a little boy with leprosy and an second marriage. The sleeping Cupid and the
inmate of the institution at the extreme left. column are symbols of chastity, and the sunflower
Bol's individual portraits follow prevailing is meant to symbolize his honourable love for his

trends, influenced especially by the elegant por- second bride. The only one of Bol's many portraits
traits of van Dyck and other Flemish artists (see that can be said to have an originality- entirely its

fig. 71- By the 1650s Bol's palette included consid- own is the Portrait of a Boy 11652: Castle Howard,
erably more red, and several portraits from this N. Yorksi. It is without a trace of Rembrandt's
period, such as the Portrait of a Young Man (1652: influence, and in it Bol showed a surprising talent.
Bor, Paulus 35

which was never further developed, for still-life in iGuglielmo Tens) and a certain Stefano Aipxi. In

the fruit and glass vessels at the lower right. Bol's the same year Bor was one of the founder-
later portraits became same
repetitious, in the members of the Schildersbent. the association of
way as his history paintings. He made more por- Netherlandish artists in Rome, which gave him the
traits of men in berets and returned to Bent-name 'Orlando'. His portrait appears under
Rembrandt's manner. In fact. Bol had little style this name in a well-known drawing Bacchus with
of his own: he adapted to every new or changing Drinking Members of the Schildersbent (c 1625:
fashion and to the taste of his patrons. Rotterdam. Boymans-van Beuningen). In Rome.
Bor apparently followed the peripatetic life of
Bibliography most young foreign painters. In 1624 he was
A. Blankert: Kunst als regeringszaak in .Amsterdam in de recorded as living on the Piazza di Spagna in the
zeventiende eeuw. Rondom schilderijen van Ferdinand same house as Michelangelo Cerquozzi. Hermans
Bol lLochem. 1975
and Thins. The same group of artists was docu-
W. Sumowski: Drawings of the Rembrandt School, i (New
mented as living in a house in the Strada
York, 1979)
deH'Olmo in 1625.
E. de Jongh: 'Bol vincit amorem'. Simiolus. xii 11981-21.
About 1626 Bor returned to Amersfoort. where
pp. 147-62
A. Blankert: Ferdinand Bol 11616-16801: Rembrandt's Pupil
he joined the Brotherhood of St Luke, the city

iDoornspijk, 1982) artists' guild, in 1630. His earliest definite work is

W. Sumowski: Gemalde der Rembrandt-Schuler. i (Landau, a group portrait of the Win Wmevelt Fan:
1983) Grace (1628). which was bequeathed by a member
B. Haak: The Golden Age: Dutch Painters of the of the family to the St Pieter-en-Bloklands
Seventeenth Century (New York. 1984) Gasthuis, Amersfoort. which still owns it. The next
MARIJKE VAN DER MEIJ-TOLSMA certain dated work is the signed \anitas Still-life

(1630: New York, art market. 1988). That Bor

had connections with Utrecht seems confirmed by
his gift in 1631 of a bust-length painting of a
Bor, Paulus 'devout woman' (untraced) to the St Jobsgasthuis
(£> Amersfoort, c. 1601; d Amersfoort, 10 Aug 1669). in that city. The lost work must have resembled
Dutch painter. He came from a prominent and his somewhat unusual half-length portrait
wealthy Catholic family. In 1577 his grandfather women, for example Female Allegorical Figure
Bor Jansz. was a member of the Treffelicxte. (Rouen. Mus. B - Si and V dene
a group of the most exceptional citizens of (Liverpool, Walker A.G.i. both dated byjanseo
Amersfoort. His father, also named Paulus Bor. 1987 exh. cat. 1 to the earl d his starkly lit

was a textile merchant. Bor's style of painting Christ among the Doctors
shares elements with both the nearby Utrecht Mus. 1. with its eccentric physiognomies

Caravaggisti and the so-called Haarlem classicists. tions and scale. Christ appears much too small.

The Haarlem architect and painter Jacob van This work and paintings from ti Mth
Campen inherited a family estate in Amersfoort their dramatic chiaroscuro, si mMc
and was later in close contact with Bor. and some contact with Rembrandt and his school in

of his classicist works have been confused with Amsterdam, which apparently tempi
those of Bor. Bor's earlier Style, derived from Haarlem and

Bor's absorption of the influences of Utreciv

Caravaggio no doubt dates from when he studied In 1632 Bor married Alenda van Craclv
in Italy. In 1623 he was recorded as living in a who a 1st) came from a prominent Amersl
house in the Roman parish of S Andrea delle Franc family. Despite her hugi ul then 1

along with three other Netherlandish painters: bined wealth. Bor continued f

Jan Hermans fl 1623-59), possibly Willem Thins In 1638, under the iieneral van

36 Bor, Paulus

W. Croockewit: 'Paulus Bor', Verslag van de werkzaamhe-
den der vereeniging 'Flehite' [Account of the activities
of the 'Flehite' association) (1903), pp. 40, 74-7 [first

study of Bor, who is neglected in early sources]

E. Plietzsch: 'Paulus Bor', Jb. Preuss. Kstsammi, xxxvii

(1916). pp. 105-15

G. J.
Hoogewerff: De Bentxweghels (The Hague, 1952
M. R. Waddingham: 'Notes on a Caravaggesque Theme',

A. Ant. & Mod., iv (1961), pp. 313-18

S. J. Gudlaugsson: 'Paulus Bor als portrettist'. Miscellanea
I.Q. van Regteren Altena (Amsterdam, 1969).

pp. 120-22
D. P. Snoep: 'Honselaarsdijk: Restauraties op papier'
[Honselaarsdijk: restorations on paper), Oud-Holland.

lxxxiv (1969), pp. 270-94

J. W. von Moltke: 'Die Gemalde des Paulus Bor von

Amersfoort', Westfalen: Hft. Gesch.. Kst & Vlksknd.. Iv

(1977). PP- 147-61

B. Nicolson: The International Caravaggesque Movement

(Oxford. 1979); review by L. J. Slatkes in Simiolus. xii

(1981-2), pp. 167-83

Hollandische Malerei im neuem Licht: Hendrick ter

Brugghen und seine Zeitgenossen (exh. cat., ed.

8. Paulus Bor: Female Allegorical Figure (Rouen. Musee A. Blankert and L. J. Slatkes: Utrecht. Cent. Mus.;
des Beaux-Arts) Brunswick, Herzog Anton Ulrich-Mus.; 1987).
pp. 226-31 [entries on Bor by G. Jansen)

Campen, he painted decorations at Honselaarsdijk

(destr.), one of the restored hunting palaces

of Prince Frederick Henry of Orange-Nassau, for Borch, ter [Terborch]
which a design for a ceiling showing musicians Dutch family of painters and draughtsmen. They
and other figures, attributed to Bor, survives came from Zwolle, capital of the province of
in the Rijksprentenkabinet, Amsterdam. Unlike Overijssel. In the 17th century Zwolle enjoyed only
his collaborators on this project, Gerrit van modest prosperity, but the ter Borchs, long influ-
Honthorst, Caesar van Everdingen and Christiaen ential in the professional and administrative life

van Couwenberg (1604-67), Bor did not contribute of the city, were comparatively well off. The head
to the decoration of another important palace, the of the family, (1) Gerard ter Borch (i), fathered thir-
Huis ten Bosch, near The Hague. Nevertheless, he teen children by three wives. He gave up his career
did remain in close contact with van Campen, as an artist to assume the position of Master of
with whom he apparently collaborated on indi- Customs and Licences. Throughout his life he
vidual paintings, until the latter's death; six paint- actively encouraged the artistic gifts of his chil-

ings by Bor were listed in the 1657 death inventory dren, providing a stimulating home environment
of van Campen's estate. In 1656 Bor was elected and practical instruction for the more talented
one of the regents of the Amersfoort religious among them. The eldest and most gifted son. (2)

foundation for the poor, De Armen de Poth, to Gerard ter became one of the foremost
Borch (ii),

which he donated a still-life painting Bread and Dutch genre and portrait painters. Anna ter
Butter and other Objects; it is still owned by the Borch (bapt 27 Oct 1622; d 11/12 Nov 1679). the
foundation. eldest surviving daughter, became interested in
Borch, ter: (i) Gerard ter Borch (i) 37

calligraphy as a child. The family preserved one J. Verbeek: 'Tekeningen van de familie ter Borch'. An tick. 1

writing book of hers containing quotations from (1966), pp. 34-9

well-known mythological and Christian texts. A. McNeil Kettering: Drawings trom (he ter Borch

Another daughter, Gesina ter Borch (b 15 Nov 1631; Studio Estate m the Rijksmuseum (The Hague,
d April 1690), though an amateur, actively engaged
For further bibliography see (2) below.
in calligraphy, drawing and watercolour from the
1640s to the 1670s. She entered many of her water-
colours into albums, one of which, an anthology (1) Gerard [Gerhard] ter Borch (i)

of favourite poems ranging from pastoral to drink- (b Zwolle, 1582-3; d Zwolle, 20 April 1662). He was
ing songs, she illustrated in a colourful minia- trained in Zwolle, perhaps by Arent van Bolten (

turist style. Another album became a scrapbook fl Zwolle, c. 1580-1600). At the age of 18 he went
of family art and memorabilia. Gesina assumed to southern Europe, staying until c. 1612: he spent

the curatorship of the family collection of graphic seven years in Italy, mostly in Rome, but also in

art— numbering c. 700 sheets and 5 albums— which Naples. In Rome he lived in the Palazzo Colonna.
remained intact with descendants of the family from the gardens of which he drew the Temple
until 1887, when it was auctioned and the major- of the Sun (1610; Rotterdam, Boymans van
ity purchased by the Rijksmuseum, Amsterdam. Beuningen), an ancient ruin. Most of his drawings
Residing unmarried in the family home in Zwolle (often dated between 1607 and 1610) were con-
her whole life, she served frequently as Gerard tained in a sketchbook, which he brought back to
(ii)'s model. Harmen ter Borch (bapt 11 Nov 1638; Zwolle and dismantled (Amsterdam, Rijksmus.).
d before Oct 1677), though a prolific draughtsman Executed with fine parallel pen batching with a

in his youth, enjoyed only modest talent and chose lively sense of accent and contour, these sheets
to succeed his father as Licence Master in 1661. follow the tradition of 16th-century Roman topo-

Jenneken ter Borch {bapt 3 Sept 1640; d 13 or 23 graphical drawing established by Maarten van
Aug 1675) left no artistic works, but her marriage Heemskerck, Paul Bril and others like his fore-

to Amsterdam merchant Sijbrand Schellinger runners, Gerard recorded aiuient buildings and
brought the family important contacts in the ruins, sometimes with archaeological exactitude,
capital. The last-born, (3) Moses ter Borch, early sometimes with a more picturesque intent

exhibited a fine artistic sensibility, especially as a View of the Pincio, Koine. 1609; Amsterdam.
portraitist. Rijksmus.). His most innovative drawings m terms
of subject-matter depict scenes ol everyday lite

Bibliography and the landscape of the surrounding Roman

A. Bredius: 'Die Ter Borch Sammlung', Z. Bild. Kst, xviii

Campagna. He also made intimate studies ol the
(1883), pp. 370-73 (report of the rediscovery of the ter grounds ol the Villa Madama outside Rome, to
Borch family estate in Zwolle] which he added watercolour washes for atmos-

J.J. van Doorninck: 'Het schildersgeslacht ter Borch'. pheric effects All the Roman drawings, even those
Vers I. & Meded. Ver. Beoefening Ovehjsselsch Regt & executed solely in pen and ink. are characterized
Gesch., xiii (1883), pp. 1-22 by subtlety ol light and shadow. He also visited
E. W. Moes: 'Gerard ter Borch en zijne familie', Oud- Naples, which he recorded in a view dated 1610
Holland, iv (1886), pp. 145-65 trom Nap!.
He had plans for a trip in 1611
E. Michel: Gerard Terburg et sa familie (Paris and London.
Spain in the company ol the Spanish viceroy, but
he literally missed his boat (in the process losing
A. Rosenberg: Terborch und Jan Steen (Bielefeld and
a number of paintings on board), several ol ins
Leipzig, 1897)
drawings indicate thai while travelling en route
M. E. Houck: 'Mededelingen betreffende Gerard ter Borch
to and from Italy he stayed in Mines and Bordeaux
en anderen. benevens aantekeningen omtrent hunne
familieleden', Versl. & Meded. Ver. Beoefening (possibly on his way south) and Venice (probably
Overijsselsch Regt & Gesch.. xx (1899). PP- i _1 72 returning north).
38 Bofch, ter: (i) Ce :- : :e 3orch (i)

By mid-1612 he was back in Zwolle. where on J. Q. van Regteren Altena: Vereeuwigde stad, Rome door
28 March 1613 he married Anna Bufkens, who Nederlanders getekend (The eternal city of Rome
Gerard ter Borch four years drawn by Dutchmen] (Wormerveer. 1964!
gave birth to (2) (ii)

D. P. Snoep: Een iyde eeuws liedboek met tekeningen van

later. Dated drawings from this period have sur-
Gerard Ter Borch de Oude en Pieter en Roeland van
some numbers: they represent Old and
vived in
Laer* |A 17th-century songbook with drawings by
New Testament subjects, devotional pieces and Gerard ter Borch the elder and Pieter and Roeland van
Ovidian love stories, all subjects associated with
Laer". Simiolus. iii (1968/691. pp .77-
Amsterdam and Utrecht history painting (most J. Richard Judson: 'Jacob Isaacz. van Swanenburgh and the
now in Amsterdam. Rijksmus.). He abandoned the Phlegraean Fields". Essays in Sortbern European Art
fine draughtsmanship of his Italian work for Presented to Egbert Haverkamp Begemann
experimentation in some sheets with a relatively (Doornspijk. 19831. PP- 119-

expressive linear vocabulary and in others with a For further bibliography see |2| below.

tighter manner characterized by firm contours,

emphatic wash modelling and increasing abstrac- (2) Gerard [Gerhard; Geraerdt; Geraert] ter Borch (ii)

tion. By the late 1610s his style began to harden lb Zwolle. Dec 1617: d Deventer. 8 Dec 1681 1. Son
and become mannered. His one painting to of d) Gerard ter Borch (i).

survive. Abraham's Sacrifice of Isaac (1618: Zwolle.

Prov. Overijssels Mus.i. shows a connection with 7. Life and work
Utrecht Mannerism. He may have made other (i) Early training. 1625-35 A precocious child, he
paintings, but Gerard certainly limited his artis- responded quickly to his father's instruction. The
tic activity after 1621. by which time he had suc- first of his preserved drawings. A Horseman Seen
ceeded his father. Hannen, in the position of from Behind (Amsterdam. Rijksmus.. A 78a
Licence Master. executed before his eighth birthday, as his father
Despite his professional responsibilities. Gerard proudly recorded on the sheet: Anno 1625.
found time in the 1620s for some artistic activity, den.25.September. G. T. Borch de Jonge inventur.
of his creative energy seems to have been The second, a depiction of an officer (Amsterdam,
devoted to supervising his first-born's efforts at Rijksmus.. A 783I, bears the inscription naefrj het
drawing, but he also produced a number of colour- leven rafter life'i and the date 24 April 1626. These
ful, witty and lively drawings which were entered two sheets illustrate the father's practice of anno-
into a hand-written amatory songbook (now in the tating the youthful drawings of his children and
Atlas van Stolk. Rotterdam. Hi to which retaining them for the family estate. Only one
Roeland van Laer (d Genoa 16351 and Pieter van early history subject by Gerard survives Judith : and
Laer later contributed watercolour drawings. Holo femes 1 Amsterdam. Rijksmu- His
Perhaps responding to his own pedagogical theory, father encouraged him to make exacting copies
he returned to drawing from life in the 1630s in a •all Amsterdam. Rijksmus.) of prints by Hendrick
handful of renderings of children and the local Goltzius. Pieter Quast and Jacques Callot. and even
landscape, but generally he seems to have practised of sculpture casts, such as the Farnese Hercules.
his art vicariously through his talented offspring. But most of Gerard (til's drawings depict scenes of
everyday life.
Bibliography went Amsterdam, presum-
In 1632 Gerard to
A. Bertolotti: Arasti belgi ed olandesi a Roma nei secoli ably for an apprenticeship. He seems to have gone
XVI e XVU (Florence, 18801
to Haarlem in 1633. then again in 1634 for an
H. Eggen Romische Veduten: Handzeicbnungen aus dew
extended stay as apprentice to the landscape artist
XV-XVm Jahrbundert (Vienna. 19111
M. Biok: 'Romeinsche teekeningen door G. Terborch.
Pieter Molijn. The sketchbook Gerard kept from
J. sr.
en W. van Nieulandt II in 's Rijksprentenkabinet te 1631 to 1634 Amsterdam. Rijksmus.. 1888:
1 A 17

Amsterdam*. Meded. .\ed. Hist. InsL Rome, v charts his progress as he loosened the linear
77 '--"r vocabulary he had inherited from his father, then
Borch, ter: (2) Gerard ter Borch (ii) 39

added wash and finally abandoned pen altogether Documentary evidence indicates that Gerard
for chalk, in order to render the atmospheric- was back home by April 1636 (either before Of alter

effects of the Haarlem landscape. Separate sheets his uncle's death that year), but about 1637 he
of 1633 and 1634 show Gerard expanding his departed for southern Europe, where he staved
subject-matter to include scenes of skaters, sol- until about 1639, travelling to Italy and probahlv
diers and markets, many perhaps made for sale, to Spain. At the Spanish court he may have been
as few remained in the family estate. The Market commissioned to paint a portrait of Philip I\

Scene (Amsterdam, Rijksmus., A 825), for example, (Amsterdam, priv. col., see Gudlaugsson. 1959-60.
is distinguished by the subtle spatial relationships cat. no. 9; ?copy after lost original 1. During the
of just a few compact motifs, which, strengthened early 1640s Gerard resided in Holland, probablv in

by accents in ink, stand out against the receding Amsterdam, with visits to Haarlem, interrupted by
street sketched lightly in chalk. The association stays in the southern Netherlands <mc\ Prance. He
with Molijn proved strong, continuing into the concentrated on portraits and genre pain;
1640s when the two collaborated on a few land- The portraits were either bust-length miniatures.
scape paintings. The first of Gerard's extant inde- such as the portrait of 'Jan Six (Amsterdam, Col.

pendent paintings, probably dating from c. 1634. Six), or small full-length portraits ot t mures ie1

is Rear View of a Rider (V. de Steurs priv. col., see in a barely defined, neutral space, a tvpe In-

Gudlaugsson, 1959-60, cat. no. 1), in which the continued for the rest of his career The genre
figure seen from the back not only recalls his very pieces were guardroom scenes in the manner of
first drawing but establishes a leitmotif of his the Amsterdam painters Pieter Codde ^nc\ Willem
painted oeuvre. His earliest dated painting, the Duyster, but characterized by a new subtlety ol

Consultation (Berlin, Gemaldegal.) of 1635. was light and naturalism. The most impressive of these

probably Gerard's entrance piece for the Haarlem is Soldiers Playing Trictrac (Bremen, Ksthalle), in

Guild of St Luke which he joined that year. which the main figures are viewed from the back
and side.

(ii) Travel and residence abroad, 1635-48. Later in 1635 By late 1645 Gerard had moved to Minister t<'

Gerard began a series of journeys lasting a decade join the entourage of Adnaen Pauw, representa-

and a half. First he went to London, where by the tive of the States of Holland to the peace negoti-

summer of 1635 he joined the studio of his uncle, ations between the Dutch Republic and Spain to

the engraver Robert van Voerst (i597~i636), who end the Eighty Years War. Almost immediately he
was closely associated with Anthony van Dyck and painted the I nuance ol Adnaen 1'auw m Ifflnsfer

presumably acquainted with other Netherlandish (Munster, Westfal. 1 andesmus.). He remained there

portrait painters in England such as Daniel Molyn throughout the signing ol the Peace ol Minister in

and Cornells Jonson van Ceulen I. Gerard's father May 1648. a ceremony he recorded in a line,

sent a trunk to him in London full of painting unusuallv small group portrait of over 70 dele-

supplies, clothes, a mannequin and a letter urging gates and their retainers (London, N c. 1 By that

his son to continue drawing, especially lively time Gerard belonged to the household of the

figural compositions, and if he painted to produce Spanish envoy, the Conde de Peneranda. whose
the 'modern kind of figure group' that he had portrait he painted (Rotterdam, Bovmans van
learnt in Pieter Molijn's studio. All that remains Beuningen). Despite Houbraken'a assertion that
from Gerard's time in England is one drawing, Gerard journeyed to spam immediately after
a portrait of Robert van Voerst (Amsterdam, wauls with l'eneianda. the count did not return
Rijksmus.), which was undoubtedly influenced to Madrid until 1650 and Gerard's trip probably

by the linear style of van Dyck, but is miniaturist took place a decade earlier.

in its description of features and characterized

Genre painting, i648-mid-i66os. In the following
by warmth and personal involvement with the (iii)

sitter. years Gerard seems again to haw spent some time

40 Borch, ter: (2) Gerard ter Borch (ii)

in the southern Netherlands, but his normal place

of residence was probably Amsterdam. Documents
place him there in November 1648 but also indi-

cate stays in The Hague U649K perhaps Kampen

rmber 1650) and Delft 122 April 1653). where
he signed a document with Johannes Vermeer. He
also have visited Zwolle frequently ber

4 for he painted a portrait of the

schoolmaster Joost Rold^r untraced), and
in the same year his stepsister Gesina's art began
to show his influence. On 14 February 1654 he mar-

ried his stepmothers sister. Geertruyt Matthys.

and settled permanently in Deventer in the
province of Overijssel. A year later he became a cit-

izen of Deventer and in 1666 was appointed com-

mon councillor gemeensman). in which capacity

he served for life. But he maintained close contact

with his native Zwolle. Gesina had started appear-
ing in his paintings c. 1648 and in the following
years other members of the family served as his
9. Gerard ter Bor„
With his return to Overijssel. Gerard matured
I '_->::-.:»::'- Maxim
as a genre painter. From the late 1640s he created
small upright panels usually featuring several
half- or three-quarter figures, selectively lit -
. ex-London, Lady Baillie priv. col., see
against dark backgrounds. The figures talk, drink, Gudlaugsson. 1959-60, cat. no. 851 and its variant,
make music, attend to their ablutions or lose A Shepherdess, in Anholt tFurst Salm-Salm. Mus.
themselves in thought. .Among the most su, jrburg-Anholn. The pastoral subject of these
ful of these pictures are the close-up depictions paintings relates to Gesina's own literary and
of women involved in domestic activities, such artistic interests.
as Woman Spinning \c. 1652-3; priv. col. S. W. van The most innovative of Gerard's pictures of
der Vorm, on loan to Rotterc Soymans- c. 1650 is the Woman at her Tc: York,
van Beuningen) or The Apple Peeler 11661: representing the full-length forms of a
Vienna, Ksthi^ Gerard's pictures stylish lady and her maid. The panel is often con-
draw their special strength from an intimate sidered the earliest example of a new type of genre
knowledge of middle-class virtues, rituals and con- painting that was to become fashionable in
cerns, as well as from his response to the expres- the third quarter of the century, the high-life
sive ordinariness of his own family's features. He interior. Gerard's development of this type can be
may have usee other as the model for seen in his masterpiece of c. 1654. the 'Parental
the woman in these paintings and his stepbrother Admonition '1 Amsterdam, Rijksmus.: later version
Moses for the child, but his stepsister Gesin^ in Berlin. Gemaldegal.: see col. pi. VIi. with its
his favourite model His g ne affection for her well-to-do bourgeoisie in costly garments partici-
;dent in the sketches he made in the late pating in a delicate and pschychologically
1640s and early 1650s (Amsterdam, Rijksmus.). In nuanced exchange. Jean-Georges Wille's 18th-
his paintings she usu; ed the guise century engraving of the painting is responsible
expected of her class and situation, the most for the title, which was later adopted by,
notable exceptions being the Two Shepherd among others. Goethe for an episode in
Borch, ter: (2) Gerard ter Borch (ii) 41

Wahlverwandtschaften. Later, in the 20th century, ings of the early 1660s are distinguished from the
the characters were identified not as a daughter works of the previous decade by elegant interiors,

and parents, but as a courtesan, a procuress and splendid fashions and the attractiveness <>t the
a gentleman client enacting the old theme of figures. The change may indicate an Increasingly
bought love. Towards the end of the 20th century affluent buying public, yet Gerard consistently
the work was reinterpreted as a Petrarchan maintains an economic formal vocabulary and an
courtship ritual that conveys the prevailing ideals unusually delicate sense of narrative action For
of 17th century middle-class social and sexual example, in the Interior with Musical Com par
behaviour. 1662; Polesden Lacey, Surrey, NT), in which the
Throughout the 1650s and into the early 1660s relationship between lady and gentleman remains
Gerard developed the high-life interior further, in deliberately ambiguous and the action unresolved:
paintings nearly as problematic to interpret as the the gentleman has been interpreted as the lady's
'Parental Admonition' and no less formally rich client, her dance partner and as a suitor greeting

and psychologically acute. Increasingly he chose her with elaborate, ritualized courtesy. While
subjects that allowed him to depict quiet figures Gerard was producing such pictures. Gesina, the
caught in contemplative states of mind. His often model for this and so many of the other ladies m
solitary figures of women are shown writing satin, was collecting and illustrating Petrarchan

letters (The Hague, Mauritshuis and London, love poetry. The attitudes and images in the poetT)

Wallace), sealing envelopes (ex-Scarsdale, D. may well have provided the pictures' original
Bingham priv. col, see Gudlaugsson 1959-60, cat. frame of reference. At least one extant drawing by
no. 144), accepting letters delivered by messengers Gerard from the Deventer period (Amsterdam.
(Munich, Alte Pin. and Lyon, Mus. B.-A.) or con- Rijksmus., GJr 86) suggests his thorough familiar-
templating the letter's content (Frankfurt am ity with Petrarchan imagery.
Main, Stadel. Kstinst.). When the letter-writers are
men they are always officers, waited on by trum- (iv) Portraiture, 1660s and 1670s. Gerard produced
peters, and some clue is usually provided about relatively few genre paintings after the mid-i66os.
the letter's amorous content (London, N.G. and concentrating instead on portraiture for the bour-

Philadelphia, PA, Mus. A.). In the latter two paint- geoisie of the increasing!) prosperous eastern

ings, the colourfully dressed trumpeters function provinces. Compared with those by artists from the
as love objects themselves. western province of Holland. Gerard's portraits

The letter-writing theme reached its culmina- focused less on his sitters' status ami more on their
tion in two paintings of c. 1660. The first, individuality, honesty and sobriety, qualities ass,.

'Curiosity' (New York, Met.), depicts a woman ciated with an older generation of artists and
craning to read a letter penned by her seated com- patrons. Nevertheless he sometimes relaxed this

panion. Competing with this anecdotal action is austere Style n> suit sitters with a taste lor rich

a third figure, clad in a shimmering low-cut clothing, as in the Portrait oi a Man

satin gown, who stands prominently at the side London. N.G ; see fig 10); the sitter, despite his

absorbed in her own thoughts. In the second, oven exaggerated fashions, is still portrayed with

more masterful canvas (London, Buckingham Pal., straightforwardness Gerard's only group portrait
Royal Col.) a similarly clad woman (modelled from his later years is the Magistrate* c/ Deventer

by Gesina) commands the viewer's attention by (1667; Deventer. Stadhuis). The artists own appear-

holding the letter and reading aloud from it to a ance at this time ^\n be seen in his Self-portrait [c.

woman and a boy. The figures are set in an exquis- 1668; The Hague, Mauritshuis), which express
itely, though sparsely, appointed interior and are characteristic mixture oi worldliness and reserve

illuminated by sparkling light from a hidden At the end ol the 1660s and beginning ol the

source, which focuses on their subtly differenti- 1670s. after a decide and a hall of activity

ated responses to the letter. This and other paint- confined primarily i<> Deventer, Gerard began to
42 Borch, ter: (2) Gerard ter Borch (ii)

for his collection of painters' self-portraits (auto-

graph copy of lost original, Berlin, Staatl. Museen

N.G.). Until the end of his life Gerard continued
to execute portraits, most notably that of King
William HI and Mary Stuart (untraced), which
confirm the esteem he enjoyed, despite his con-
tinued use of a more reserved portrait style.

2. Critical reception and posthumous reputation

Gerard's genre paintings, more than his portraits,

exercised a considerable influence on such con-

temporaries as Gabriel Metsu, Pieter de Hooch,
Frans van Mieris (i), Eglon van der Neer and even
Johannes Vermeer. His works were valued for their

technique, striking figural motifs and the elegant

lifestyle they idealized. His reputation was fur-

thered by the many copies produced by his pupils,

the most distinguished being Caspar Netscher who
worked with him in Deventer c. 1654 and 1658-9.
But because ter Borch resisted the trend in the
later 17th century towards exaggeratedly virtuoso
10. Gerard ter Borch fii): Portrait of a Man. c. 1664 surfaces, crowded, restless compositions and com-
(London, National Gallery) plicated light effects, his influence was limited.
Yet few 17th-century Dutch artists focused so com-
spend more time in Amsterdam. This may have pellingly and subtly on their figures as individu-

resulted from his wife Geertruyt's death (between als, and fewer still placed them in narratives that
1668 and 1672) or from contact with his brot'.ier- so successfully combined the substance of psy-

in-law Sijbrand Schellinger, an Amsterdam mer- chological insight with the forms of elegant
chant who had married his half-sister Jenneken in decorum.
1668. Around 1670 Gerard executed five portraits
for Schellinger's relatives, the well-to-do Pancras
family from Amsterdam's regent class. Perhaps the
A. Houbraken: De groote schouburgh (1718-21)
most influential of Gerard's patrons were C. Weyerman: De levens beschryvingen der

members of the wealthy de Graeff family whom Nederlandsche kunstschilders en kunstschilderessen, ii

he painted in 1673-4. Their support may have been (The Hague. 1729-69)
particularly welcome at this time, for Gerard had J. Smith: A Catalogue Raisonne of the Works of the Most
apparently fled Deventer in late spring 1672 on Eminent Dutch. Flemish and French Painters, iv

the eve of the invasion and subsequent two-year (London, 18331

occupation by troops of the Archbishop of Cologne \V. Bode: 'Der kiinstlerische Entwicklungsgang des
Gerard Ter Borch', Jb. Preuss. Kstsamml.. ii 11881).
and Bishop of Munster, allies of Louis XIV. He left
pp. 144-5
behind a portrait of the Dutch Stadholder Willem
C. Hofstede de Groot: Hollandischen A/a/er 1907-281 1

III, Prince of Orange Nassau (later King William III

H. Leporini, ed.: Handzeichnungen grosser Meister:
of England), who had visited Deventer in May 1672.
Terborch (Vienna. 1925)
Gerard stayed in Amsterdam, returning to
J. G. van Gelder: 'Hollandsche etsrecepten voor 1645'- Oud-
Deventer only in the summer of 1674. Two Holland. lvi H939)- PP- H3 _ i4
years later Cosimo III de' Medici, Grand Duke of F. Hannema: Gerard Terborch (Amsterdam, (1943])
Tuscany, commissioned a self-portrait of ter Borch E. Plietzsch: Gerard Ter Borch (Vienna. 1944I
Borssom, Anthonie van 43

S. J. Gudlaugsson: 'Adriaen Pauw's intocht te Miinster, een traditional method of training by copying the
gemeenschappelijk werk van Gerard ter Borch en work of earlier artists. Between 1659 and 1661 he
Gerard van der Horst', Oud-Holland, lviii (1948), made copies of sculptural easts, ol his father's
pp. 39-46 drawings and of prints by such artists as Jan
— : 'De datering van de schilderijen van Gerard ter
Saenredam, Annibale Carracci, Albrecht Durer,
Borch', Ned. Ksthist. Jb. (1949). PP- 235-6
Adam Elsheimer and Rembrandt. Moses rarely
A. J.
Moes-Veth: 'Mozes Ter Borch als sujet van zijn broer
made exact copies of the originals: instead he con-
Gerard', Bull. Rijkmus., iii (1955). PP- 36-7
— : 'Mozes of Gerard Ter Borch?', Bull. Rijksmus., vi
centrated on composition and anatomy in his

(1958), pp. 17-18

copies of Italian and German prints and on char-

S. J. Gudlaugsson: Gerard Ter Borch, 2 vols (The Hague, acterization of emotion and chiaroscuro effects m
1959-60) [the principal monograph] those after Rembrandt's etchings.
P. Pieper: 'Gerard Terborch in Miinster', Schone Miinster, Moses's artistry and insight can be seen in his
xxvi (1961), pp. 1-32 chalk portrait head studies ol members ol his
E. Haverkamp-Begemann, 'Terborch's Lady at her Toilet',
family, dated 1660-61. He also executed many self-
ARTnews (Dec 1965), pp. 38-9
portraits. The quality of one ol these (Amsterdam,
J. Q_.
van Regteren Altena: 'The Anonymous Spanish Sitters
Rijksmus., A 1047), an introspective rendering in
of Gerard Ter Borch', Master Drgs, x (1972), pp. 260-62
smudged and stippled chalks, is so high thai 11
Gerard Ter Borch (exh. cat., ed. H. R. Hoetink and 1'.

was mistakenly attributed to Gerard (ii). Moses also

Pieper; Amsterdam, Rijksmus.; Miinster, Westfal.

Landesmus.; 1974) experimented with oil painting in three portraits

M. Montias: 'New Documents on Vermeer and his (Amsterdam. Rijksmus.). but his feeling for sculp-

Family', Oud-Holland, xci (1977), pp. 267-87 tural volumes, chiaroscuro and introspective
S. A. C. Dudok van Heel: 'In Presentie van de Heer Gerard facial expressions is seen at its best in the late
ter Borgh', Essays in Northern European Art Presented series of sensitive chalk studies portraying
to Egbert Haverkamp Begemann (Doornspijk, 1983), single figures in military clothes (e.g. Berlin.
pp. 66-71 Kupferstichkab.). These works originally came
A. McNeil Kettering: The Dutch Arcadia: Pastoral Art and
from a single sketchbook but were later sold or
its Audience in the Golden Age (Montclair, NJ, and
given away separately, presumably by Moses
Woodbridge, GB, 1983)
— : 'Ter Borch's Studio Estate', Apollo, cxvii (June 1983),
himself. They are thought to have been drawn in

the mid-i66os. around the time Moses joined the

pp. 443-51
Masters of Seventeenth-century Dutch Genre Painting Dutch fleet (by at least 1666). He was killed during
(exh. cat., ed. P. Sutton; Philadelphia, PA, Mus. A.; one ol the final engagements ol the second Anglo-
Berlin, Gemaldegal.; London, RA; 1984) Dutch War.
A. McNeil Kettering: 'Ter Borch's Ladies in Satin', A. Hist,

xvi (1993). PP- 95-124 Bibliography

— : 'Ter Borch's Military Men: Masculinity Transformed', Dutch Figure Drawings from '/'< Seventeenth Century
Dutch Culture: Proceedings of the Symposium (exh. cat. by P Schatborn, Amsterdam, Rjjksm
Sponsored by the Center for Renaissance and Baroque Washington, in . \ c, \ . 1981
Studies, University of Maryland: College Park, 1993

For further bibliography ree (2) above

(3) Moses [Mosus; Mozes] ter Borch

[bapt Zwolle, lgjun 1645; d Harwich, 12 July 1667).

Son of (1) Gerard ter Borch (i). He showed a

precociousness in art rivalling thai ol his eldesl Borssom [Boresom; Borssum], Anthonie
stepbrother, (2) Gerard (ii). By the age ol seven van
he was drawing scenes from everyday Life (e.g. [bAmsterdam. hapl a Jan 1631; d Amsterdam, bur
Amsterdam, Rijksmus., A 1111), and he proved 19 March 1677). Hutch painter ,\n^\ draughtsman.
more responsive than his brothers to his father's There are no surviving documents to support the
44 Borssom, Anthonie van

common assumption that he was a pupil of Fitzwilliam; The Hague, Mus. Bredius). The com-

Rembrandt, although some of his drawings show position and some details of Cows in a Meadow
the influence of Rembrandt's landscape etchings (Copenhagen, Stat. Mus. Kst) are obvious borrow-
of the 1640s (Bartsch: Catalogue raisonne, 1880, ings from Paulus Potter's famous Bull (1647; The
nos 222-8, 232). These compositions always Hague, Mauritshuis). Van Borssom's most success-
followed a particular formula: water in the fore- ful works are the Dune Landscape (Hamburg,
ground, a farm, windmill or ramshackle barn Ksthalle), River View with a Rider (Budapest, N.
among trees in the middle ground and, to one Mus.) and several Moonlit Landscapes (e.g.

side, a distant view of buildings below a low Amsterdam, Rijksmus.) painted in the manner
skyline. Various landscapes with windmills of Aert van der Neer. His last known dated paint-
bearing the signature AVBorssom have these ing, Panoramic Landscape with a Rider (1671;
characteristics (Amsterdam, Rijksmus.; Dresden, Copenhagen, Stat. Mus. Kst), is reminiscent of the
Kupferstichkab.; Frankfurt am Main, Stadel. landscapes of Hendrick Vroom.
Kstinst.). Van Borssom's practice of applying pale
watercolour washes to his drawings made them Bibliography

popular with collectors and imitators, especially F. Robinson: Netherlandish Artists (1979), 5 [IV] of The

in the 18th century. Although these drawings Illustrated Bartsch, ed. W. Strauss (New York, 1987)
W. Sumowski: Drawings of the Rembrandt School, ii (New
sometimes represent recognizable buildings, they
York. 1979). nos 287-367 [see also review by B. P. J.
are not intended to be topographical, unlike his
Broos in Oud-Holland, xcviii (1984), pp. 176-8]
drawings of churches, castles and city gates, which
he must have made during a trip through Utrecht,
— : Gemalde der Rembrandtschuler, i (Landau. 1983).

pp. 426-56
Gelderland and the Lower Rhine area, including
views of Naarden, Maartensdijk, Soest, Oosterbeek,
Hoog-Elten and Cleves.
Van Borssom was far less productive as a
painter. His paintings (mainly landscapes) are Bosschaert
rather eclectic and have no personal, clearly Dutch family of painters of Flemish origin. (1)

recognizable character. They show no sign of Ambrosius Bosschaert (i) was one of the first

Rembrandt's influence. Only five paintings are artists to specialize in Flower painting in the
dated, making it difficult to establish a chronol- northern Netherlands. Other members of what
ogy or stylistic development. They include Interior has become known as the Bosschaert dynasty of
of a Church (i6s(?)-the last number is illegible; fruit and flower painters include his three sons
The Hague, Rijksdienst Beeld. Kst; Sumowski, 1983, (2) Ambrosius Bosschaert (ii), Johannes Bosschaert
no. 2io), which is painted in the manner of Gerrit (b ?Arnemuiden, 1610-11; d 1628 or later) and
Houckgeest and Hendrik van Vliet, and his earli- Abraham Bosschaert (b Middelburg, c. 1612-13;
est known dated work, a Village Road (1655; d Utrecht, 1643), as well as his brother-in-law
Hamburg, Ksthalle), which shows the influence of balthasar van der Ast and the latter's lesser-known
the early work of Jacob van Ruisdael. A Panoramic brother Johannes van der Ast. Johannes Bosschaert
Landscape with a View of the Schenkenschans and seems from an early age to have been a talented
Hoog-Elten (Diisseldorf, Kstsamml. Nordrhein- painter, whose few surviving works are mostly hor-
Westfalen) is dated 1666. This and a comparable izontal in format and strongly influenced by his
undated panoramic landscape (Philadelphia, PA, uncle Balthasar van der Ast. By contrast, Abraham
Mus. A.), are reminiscent of the work of Philips Bosschaert apparently favoured an oval format
Koninck, but the staffage of cattle is inspired by and was a much less skilled artist, to judge from
Paulus Potter, as are at least five painted cattle the equally small number of known paintings
pieces, undated but signed AVBorssom (e.g. by him. It was, in fact, the eldest son and name-
Bamberg, Neue Residenz, Staatsgal.; Cambridge, sake who most closely followed the tradition
Bosschaert: (2) Ambrosius Bosschaert (ii) 45

established by Ambrosius Bosschaert the elder, on which isolated accessories, often costly
whose activities in Middelburg at the beginning rarities, are placed: small animals, rare shells, in
of his career made it the centre of flower paint- some cases just a few drops of water or flower
ing in the Netherlands. This switched to Utrecht petals (e.g. Flower Piece, Madrid, Mus. Thyssen-
after Ambrosius the elder's move there in 1616; all Bornemisza). A simple niche or an arched window
of his sons were active in Utrecht, as were van der with a view over a flat, 16th-century style land-
Ast and other important exponents of the genre scape forms the background (e.g. Vase of Fh>
(e.g. Roelandt Savery). in a Window, c. 1620; The Hague. Mauritshuis).
The trompe-Voeil character of these pictures is

(1) Ambrosius Bosschaert (i) particularly marked, although it is also empha-

I b Antwerp, bapt 18 Nov 1573; dThe Hague, 1621). sized by the volume of the flowers, which
Painter and dealer. He left Antwerp with his contrast with the flatly composed bouquets of
parents c. 1587 because as Protestants they were Jan Breughel I.

vulnerable to religious persecution; the family Although Bosschaert's pictures combine

moved to Middelburg, where in 1593 Ambrosius flowers from different seasons, his floral compo-
became a member of the Guild of St Luke, of which sitions should be understood primarily as ideal-

he served as Dean on several occasions (1597, 1598. ized depictions of flowers. Bol (1969) contended
1603, 1604, 1612 and 1613). In 1604 he married that they could not be interpreted symbolically,
Maria van der Ast, the sister of Balthasar van but subsequent research has inclined towards the
der Ast who later became his pupil and possible view that, at least to some extent, the flower pic-

collaborator. Bosschaert bought a house in tures of Bosschaert and his followers continue the
Middelburg in 1611. There are flower-pieces by 15th- and 16th-century Flemish tradition of usim.:

Bosschaert that are signed (with a monogram) and flowers as religious symbols. These pictures also
dated between 1605 and 1621, though there were served contemporary Dutch botanists and garden-
two periods of artistic inactivity, in 1611-13 and ers by providing an exact, true-to-life reproduction
1615-16, when he was probably more active as a of foreign or hybrid species. This passion for exotic
dealer in the art of both Dutch and foreign artists plants— which later culminated in what is known
(e.g. Veronese and Georg Flegel). He was recorded as the Dutch 'Tulip mania' (c 1635-71-was anal-
in Bergen-op-Zoom in 1615 and became a citizen ogous to the interest in new and curious treasures

of Utrecht in 1616, where his name appears in the (exotica, shells etc) which seafarers from Holland
register of the Utrecht Guild of St Luke for the and Zeeland brought back from their travels in

same year. In 1619 he was involved in a court case the Far East. Bosschaert may have painted his

in Breda, where he lived from that year. He died first flower-pieces as commissions for botanists

during a journey to The Hague. and arrived at the deliberately composed floral
With his flower paintings Bosschaert founded bouquet by way of the individual studies required
a genre that continued unchanged in Middelburg for such commissions
until the mid-i7th century: a symmetrically com- About 50 works by Bosschaert arc now known:
posed bunch of flowers, generally consisting of they were highly esteemed in his lifetime, but in
cultivated species, painted precisely and with an the 18th and 19th centuries they were disregarded
almost scientific accuracy. The vertically con- The interest ol collectors m^\ scholars in his work
structed bouquet generally consists of tulips— still was not reawakened until the 20th century, par-

a novelty at that time— in the centre, roses at the ticularly m the work ol Bol.

lower edge of the container and an exotic species,

such as lilies, rounding off the top (e.g. Bouquet (2) Ambrosius Bosschaert (ii)

in a Stone Niche, Wassenaar, S. J. van den Bergb [b Arnemuiden, Middelb trecht, bur

priv. col., see Bol, pi. 22). The vase, of glass, metal 19 May 1645). Son ol (1) tmbrosius Bosschai
or painted china, stands on a monochrome surface He lived in Utrecht, where he married in 16 u His
46 Bosschaert: (2) Ambrosius Bosschaert (ii)

work has been recognized only since 1935 when L. J. Bol: The Bosschaert Dynasty: Painters of Flowers and

Piet de Boer succeeded in differentiating it from Fruit (Leigh-on-Sea, i960)

pictures by his father and his brother Abraham. — : Hollandische Maler des 17. Jahrhunderts neben den
grossen Meistern (Brunswick, 1969)
Ambrosius the younger's early pictures are signed
P. Mitchell: European Flower Painters (London, 1973)
AB in Gothic lettering, but after 1633 he used a
Stilleben in Europa (exh. cat., Miinster, Westfal.
more calligraphic, rounded abbreviation, almost
Landesmus., 1979), pp. 40-42, 57-9
Baroque in effect, or even his name in full. The
1. Bergstrom: 'Composition in Flower Pieces of 1605-1609
first period of his creative output falls between by Ambrosius Bosschaert the Elder', Tableau, v (1982),
1626 and 1635. His flower-pieces from that time pp. 175-6
are viewed from above and have a low vanishing Masters of Middelburg (exh. cat., Amsterdam, Waterman
point; there are often exotic accessories and shells Gal., 1984)

(e.g. Bouquet with Frog and Lizard, The Hague, S. M.-L. Hairs: Les Peintres flamands de fleurs au XVII siecle

while on one occa- (Brussels, 1985), pp. 87-92, 196-9

Nystad Gal., see Bol, pi. 52b),

sion later a live snake is introduced. In later work IRENE HABERLAND

the high viewpoint and stiff composition of the
pictures, especially of the still-lifes combining
fruit and flowers, become noticeably less sym- Both
metrical and more spacious. These works also Dutch family of painters, draughtsmen and
reveal the strong influence of his brother etchers, active also in Italy. The brothers (1)

Abraham, evident both in the choice of format and Andries Both and (2) Jan Both were the sons
in the preference for blue and yellow, as well as of Dirck Both (d 1664), a glass painter from
in a darker background and more compactly Montfoort, who by 1603 had settled in Utrecht,
organized still-life arrangements (e.g. Flowers in a where he apparently specialized in painting coats

Glass Vase, 1635; Utrecht, Cent. Mus.; Fruits and of arms on windows. Andries and Jan were in Italy
Parrots, 1635; The Hague, Dienst Verspr. Rijkscol.). between 1638 and 1641, when they shared a house
It is possible that many of the pictures ascribed on the Via Vittoria in the parish of S Lorenzo in
to Ambrosius the younger for this period were Lucina. In 1641 they set off together for Holland,
begun by Abraham and finished after his death by but on the way home Andries drowned in a
Ambrosius the younger. canal and Jan returned alone. The
in Venice,
Ambrosius Bosschaert the younger's paintings 17th-century biographer Joachim von Sandrart,
are also marked by their strong religious message; followed by later writers, claimed that the
hisBowl of Fruit with a Siegburg Beaker (Amster- brothers had collaborated on the greater part
dam, A. A. Bosschaert priv. col., see Bol, pi. 57) can of the production. This view, however, has been
be interpreted as alluding to the Fall of Man, the largely revised by late 20th-century critics, and the
Crucifixion and the Redemption. Ambrosius two artists are better understood independently.
the younger also painted vanitas still-lifes (e.g.

ex-Schaap priv. col., Monte Carlo) and a unique (1) Andries Both
memento mori, a macabre little picture showing (b Utrecht, c. 1612; d Venice, 1641). After an
a Dead Frog lying on its back surrounded by four apprenticeship in the workshop of Abraham
black flies (Paris, Fond. Custodia, Inst. Neer.). The Bloemart, where he is documented in 1624-5,
extremely limited colour range (grey and brown Andries left Utrecht for Italy during the early
with white highlights) is reminiscent of mono- 1630s. Among the works probably produced before
chrome still-lifes from Haarlem and Leiden. his departure are a number of pen-and-ink land-

scape drawings such as the Drawbridge near a

Bibliography Town Rampart (Amsterdam, Rijksmus.). In 1633 he
I. Bergstrom: Dutch Still-life Painting in the 17th Century was at Rouen, as is confirmed by a signed, dated
(London and New York, 1956), pp. 54-68 and inscribed drawing of Four Peasants Eating and
Both: (2) Jan Both 47

Drinking Outside (Weimar, Schlossmus.). Towards popularity through the late works of van Laer and
the end of 1634 or early in 1635 he probably the activities of other Bamboccianti such as Jan
arrived in Rome, where he is documented from Miel and Michelangelo Cerquozzi. During the
1635 to 1641. 1640s Andries helped define the thematic and
Andries is recorded in documents mainly as a formal repertory of the bambocciata tradition,
collaborator painting the figures in the land- which under his influence was enriched with sub-
scapes of his brother (2) Jan Both, but any collab- jects inspired by the lives of tramps and be^
oration between the two was probably limited Both's interest in such subjects is evident in his
to the exchange of drawings and suggestions. drawing Distribution of Soup to the Poor (1636;
Andries in fact produced independent, low-life Amsterdam, Rijksmus.) and in a painting of the
genre paintings, influenced by the tradition of same subject (Munich, Alte Pin.). In this painting ,

Pieter Bruegel the elder, which was then under- in its companion. Strolling Musicians in a

going a revival, most notably in the work of Courtyard (Munich, Alte Pin.), and in two tavern
Adriaen Brouwer. Andries was indebted to scenes (both Feltre, Mus. Civ.) Both breathed new
Brouwer for the rustic peasant subjects of such life into his thematic repertory as a northern
early paintings as his Interior of a Tavern (Rome, artist by observing the often harsh reality of his
Pal. Corsini), completed in Rouen, his signed Italian surroundings more objectively and toning
and dated Peasants in a Tavern (1634; Utrecht, down the element of caricature typical of his early
Cent. Mus.) and the Card Players (Amsterdam, works. These paintings and, more especially, his
Rijksmus.). The influence of northern subject- Barber (c. 1640; U. Gottingen Kstsamml.j are dis-
matter and figure styles persists in the Quack tinguished mainly by the accentuated au^\ sober
Dentist and the Charlatan, both dated 1634 (ex- realism that characterizes the setting in which
Duke of Bedford priv. col., see Waddingham, figs the scene unfolds. In this aspect Both followed the
21-2). These two paintings were probably executed example set by van Laer in such works as his
shortly after Andries's arrival in Rome, as is shown Flagellants (Munich, Alte Pin.) or his Halt of the

by their intensely luminous quality and their Hunters (ex-G. Caretto priv. col.. Turin: see

Italianate landscape backgrounds. There is a Briganti, Trezzani and Laureati. fig. 1.17). Andries

related preparatory drawing (Leiden, Rijksuniv., Both's interest in the urban landscape was
Prentenkab.) for the Quack Dentist, drawn with a undoubtedly encouraged through contact with his

broad-nib pen and brown ink and wash, it is brother Jan. whose drawings from life executed in

typical of Andries's rather crude draughtsman- Rome show a similar desire to record his sur-

ship. The composition was etched by Jan as rep- roundings. In his turn. Andries probably provided
resenting Feeling in a series of the Five Senses drawings for the small figures in Jan's landscapes,

(Hollstein, nos 11-15). Another significant element perhaps even intervening directly in the situs

of Both's early development was the work of the now in the Prado.

artist known as the Pseudo-Van de Venne (or Van

der Vinnen), who was probably active in the south- (2) Jan Both

ern Netherlands in the 1620s. From him Both (b Utrecht. C. 1618: d Utrecht. Aug iher

apparently derived a marked propensity for the of (1) Andries Both. He was one ol the toreinosi

caricature-like distortion of the faces and poses of painters among the second generation ol Dutch

his figures. [talianates. While working in Italy he specialized

Andries's development as a genre painter, in genre scenes: however, on his return to the

together with his close links in Rome from 1635 Netherlands he concentrated on wooded land-

with Pieter van Laer (il Bamboccio), placed him in scapes bathed in a golden light that illuminates
the group of artists known as the Bamboccianti the highly detailed foliage dn<\ trees. These

and meant that he favoured the bambocciata, realistic landscapes represent his most original
a variety of low-life painting then increasing in contribution to Dutch painting and were much
48 Both: (2) Jan Both

imitated by his contemporaries and by later van Laer (il Bamboccio), who specialized in low-

artists. life scenes (bambocciate). Jan devoted himself to

painting genre scenes with small figures, initially
1. Life and work imitating his brother's style, as for example in
(i) Before 1641: early training and work in Rome. Jan trained Festivity in front of the Spanish Embassy
in Utrechtbetween 1634 and 1637 with Gerrit van (Stockholm U., Kstsaml.). This painting depicts a
Honthorst, according to Sandrart; Burke has sug- party organized by the Marques de Castel Rodrigo
gested that his early development as a landscape in February 1637 and was probably executed
artist was inspired by the work of Carel de Hooch shortly after that date, perhaps for the ambas-
(d 1638), who was active in Utrecht during the sador himself. Another work from the same period
1630s and whose Italianate but realistically for- is the Distribution of Soup to the Poor (Aries, Mus.
mulated landscapes presented an important alter- Reattu), which is closely linked, both in style and
native to the more traditional models of Cornells subject, to the bambocciate of Andries Both (to

van Poelenburch and Bartholomeus Breenbergh. whom it was attributed by Burke). The pair of
Sometime after 1637 Jan joined his brother canvases Market at Campo Vaccino (Amsterdam,
Andries in Rome. Jan documented there from
is Rijksmus.) and Morra Players beneath the
1638 to 1641, during which time he befriended Campidoglio (Munich, Alte Pin.) are later in date
Herman van Swanevelt and Claude Lorrain. He but were still completed in Rome. In these works
collaborated with Claude in 1638-9, and again in Jan's search for a strong sense of realism is

1640-41, on two series of large landscapes (Madrid, expressed through his meticulous observation of
Prado) commissioned for the Buen Retiro Palace light effects rather than in the small anecdotal
in Madrid by Don Manuel de Moura, Marques de scenes of Roman life. Another feature of these pen-
Castel Rodrigo and ambassador of Philip IV. Both dants, also inspired by Claude's example, is the
is credited with four canvases of vertical format juxtaposition of a scene in the cool light of
from the series (2059, 2060, 2061 and 2066). Like morning with another bathed in the warm golden
Claude and van Swanevelt, Both arranged his land- light of evening. Sandrart recorded that Both liked
scapes along diagonal lines in order to achieve a to portray different hours of the day. In addition
greater feeling of depth. He unified the composi- to Both's paintings of bambocciate, he made draw-
tion by means of golden light, which
a glowing, ings of similar subjects, such as Beggars and a
was also inspired by Claude and was later to char- Roast-chestnut Vendor amid Roman Ruins
acterize his entire output. Both's canvases stand (Haarlem, Teylers Mus.), which can be dated to the
out from the others, however, by virtue of their early 1640s.
greater attention to naturalistic details, which in In another pair of pendants, the View of the
Claude's paintings are depicted in a more abstract Ripa Grande (Frankfurt am Main, Stadel. Kstinst.)
and idealized way. The figures of horsemen in the and the View of the Calcara on the Tiber near the
foreground of one work by Jan in the series, the Ripa Grande (London, N.G.), both of which have a
View of the Rotunda of the Villa Aldobrandini at diagonal layout, the artist's interest in genre
Frascati (2062), were probably painted by his scenes yielded to his interest in the realistic rep-
brother Andries, a rare example of collaboration resentation of the urban landscape. These paint-
between the two brothers. Waddingham suggested ings are connected with drawings from life

that Jan and Andries also worked together on ver- executed by Both during his stay in Rome, such as
sions of the Landscape near the Calcara with his View of Ponte Rotto (Frankfurt am Main,
Morra Players (Munich, Alte Pin.; Budapest, N. Stadel. Kstinst.), a popular subject with the Dutch
Mus.), both previously, and occasionally still, Italianates. By contrast, the location of his
attributed to Pieter van Laer. drawing View of a Courtyard (Leiden, Rijksuniv,
From his arrival in Rome, Jan Both was associ- Prentenkab.) cannot be precisely identified; its

ated with the Bamboccianti, or followers of Pieter intensely realistic portrayal of the crumbling walls
Both: (2) Jan Both 49

caught by a bright light herald the work of the Herdsman and Muleteers (both London, N.G.): in
later Dutch Italianate Thomas Wijck, who spe- both works the composition is brought together
cialized in courtyard views. by warm shades of green and brown and by the
luminous atmosphere in which the Individual
(ii) 1641 and after: the Netherlands. Jan probably details stand out against the light. Towards the
returned to Utrecht in 1641, although the first end of his brie! career the artist abandoned
record of his presence in the Netherlands is a draw- the sort of Italianate spatial structures that had
ing of a Dutch subject, Wooded Landscape by a often governed his compositions during the 1650s;
Stream (Budapest, N. Mus.), dated 1643. He is doc- in Landscape with Travellers at a Ford 1 Detroit.
umented with certainty in Utrecht in 1646 and MI, Inst. A.), Landscape with Rulers (Schwerin,
1649. After his return Jan Both completely aban- Staatl. Mus.) and Landscape with a Draughtsman
doned low-life genre subjects and instead devoted (Amsterdam, Rijksmus.) he composed broad sweeps
himself to the realistic representation of Italianate of landscape that carry the eye in .1 variety ot dif-
landscapes. The lonely expanses of the Roman ferent directions. Both also practised etching and
countryside and the paths that wind through the engraved a number of landscape compositions
woods of the Apennines became the dominant derived from his paintings, as well as the series of
themes of his work. None of Both's later paintings Five Senses based on drawings and paintings by
can be described as a view of an identifiable place, his brother Andries.

but all of them were based on studies and draw-

ings brought back from Italy and convey an intense 2. Collaboration

and convincing sense of realism, both in the On numerous occasions throughout his career Jan
clearly defined detail of the landscape and in Both collaborated with other painters, the major-
the overall panoramic structure. The only dated ity of whom specialized in figures and animals
work is Landscape with Mercury and Argos (1650; Besides his brother Andries. Claude Lorrain and
Schleissheim, Neues Schloss), completed in col- Nicholas Kniipfer, he worked with Cornelil \an
laboration with Nicholas Kniipfer (c. i6o3-?i66o), Poelenburch, Jan Baptist Weenix and Pieter

who painted the figures. Burke has attempted to Saenredam. With Kniipfer and Weenix he painted
arrange Both's post-Italian works in chronological another Landscape with Mercury and I

order on the basis of a comparison with the dated (C 1650-51; Munich. Alte Pin.), the Pursuit of
works by Herman Saftleven II that depend in part Happiness (7/ CODteDtO"] (1651; Schwerin. Staatl
on Both's compositions; the latter can thus be Mus.) and tin- Seven Works <>/ Merc) iK.

dated as either contemporary or slightly earlier. Schloss Wilhelmshohei; the Figures that appear
Both's Landscape with Travellers (The Hague, in these paintings are by Knupfer, the animals
Mauritshuis), which is still linked to the old by Weenix. Both's collaboration with \.\n

Flemish landscape tradition of suggesting depth Poelenburch produced landscape with the

through the use of clearly defined layers of colour, Judgement of Paris (London, N.G.). Unusually,
dates from the early 1640s. So too does his Wooded however. Both provided the t mures m
Landscape with River (London, N.G.), in which. Saenredam's Interior of the Buurkerk in Utrecht
however, the different levels of the composition (1644; London, -

are linked together by a curving track, and tin-

foreground is framed by trees. In Landscape with 3. Influence and posthumous reputation

Peasants on Muleback (Montpellier, Mus. Tabic) The subject-matter ami compositional formulae
the highly detailed vegetation in the foreground used by Jan Moth in his landscapes were the
detracts from the overall coherence of the scene. main source ol inspiration tor tile third genera-

A better integration between foreground and tion oi Dutch [talianates, such as Willem de
background was achieved by Both around the mid- Heusch ami Prederik de Mum heron, who during
1640s in two paintings of a Rocky Landscape with the second hall >! the 17th century repeated the
50 Both: (2) Jan Both

Apennine scenes made popular by Both. His Bramer, Leonard [Leonaert; Leonardo delle
drawing style was closely copied by his pupil Jan Notti]
Hackaert. (b Delft, 24 Dec 1596; d Delft, bur 10 Feb 1674).
Like many other Italianate artists, Both was Dutch painter and draughtsman. The first record
greatly admired by his contemporaries and by of Bramer's career concerns his journey through
18th-century writers and collectors but was com- France and Italy, which he began in 1614. In France
pletely neglected during the second half of the he visited Arras, Amiens, Paris, Aix-en-Provence

19th century and the first half of the 20th, when and Marseille. While in Aix he contributed a
native Dutch landscapes were preferred. The crit- drawing and a dedicatory poem dated 15 Feb 1616
ical reassessment of Jan Both began with to the Album Amicorum (Leeuwarden, Prov. Bib.
Waddingham's studies of the 1960s, which were Friesland) of his compatriot Wybrand de Geest.
followed by Burke's careful revision of the artist's This drawing, his earliest known work, depicts
pictorial oeuvre. three figures in a landscape and shows similari-
ties with the work of Adriaen van de Venne, his
Bibliography reputed teacher (an improbable hypothesis, since
Hollstein: Dut. & Flem. van de Venne worked outside Delft and was only
C. de Bie: Het gulden cabinet (1661), pp. 156-8 25 when Bramer left Holland). Bramer has also
J. von Sandrart: Teutsche Academie 1675-9); 1 ed. A. R. been erroneously described as a follower of
Peltzer (1925), pp. 184-5
A. Houbraken: De groote schouburgh (1718-21). ii,
In Italy, Bramer visited Genoa and Livorno
p. 114
before arriving in Rome, where he lived from 1619
C. Hofstede de Groot: HoIIandischen Maler (1907-28). ix,
to 1625. De Bie stated that he also visited Venice.
pp. 418-517
L. de Bruyn: 'Het geboortjaar van Jan Both'. Oud-Holland,
Florence, Mantua, Siena, Bologna, Naples and
lxvii (1952), pp. 110-12 Padua before returning to Delft in 1628 following
M. R. Waddingham: 'Andries and Jan Both in France and trouble with the Italian police after a brawl. It is

Italy". Paragone, xv (1964). pp. 13-43 unlikely that Bramer stayed (in Parma) under the
Nederlandse i7e eeuwse Italianiserende landschap- patronage of Mario Farnese (Wichmann), because
schilders (exh. cat., ed. A. Blankert; Utrecht, Cent. Mario (d member of a collateral branch of
1619), a
Mus., 1965); rev. and trans, as Dutch 17th-century
the Farnese family, the dukes of Latera, lived in
Italianate Painters (Soest, 1978), pp. 112-28
Rome as general of the pontifical artillery.
W. Stechow: Dutch landscape Painting of the Seventeenth
Another Roman patron of Bramer was the
Century (London, 1966/i? 1981), pp. 150-58
Dominican Cardinal Desiderio Scaglia, an influ-
E. Haverkamp-Begemann: 'The Youthful Work of Andries
Both: His Landscape Drawings', Pr. Rev., v (1976),
entialmember of the papal court under Gregory

pp. 88-95 XV and Urban VIII.

J. D. Burke: Jan Both: Paintings, Drawings and Prints In Rome, Bramer was influenced by the
(New York, 1976) Caravaggesque painters, particularly Adam
L. Salerno: Pittori di paesaggio del seicento a Roma, ii Elsheimer. His predilection for nightpieces with
(Rome, 1979), pp. 424-37 dramatic chiaroscuro earned him the nickname
L. Trezzani: 'Andries and Jan Both', The Bamboccianti:
'Leonardo delle Notti'. There are no dated paint-
Painters of Everyday Life in 17th-century Rome, ed.
ings from this Italian period— his earliest is dated
G. Briganti, L. Trezzani and L. Laureati (Rome, 1983),
1630— but the style of these works probably resem-
pp. 194-221
bled his later datable works, as Bramer's style did
A. C. Steland: 'Beobachtungen zu fruhen Zeichnungen
des Jan Both und zum Verhaltnis zwischen Jan Both not evolve greatly.

und Jan Asselijn in Rom vor 1641', Niederdeutsche Most of Bramer's paintings feature many small
Beitrage zur Kunstgeschichte, xxvii (1988), pp. 115-38, figures set among antique buildings, ruins or
figs 1-26 thick, dark woods, dramatically lit from one
LUDOVICA TREZZANI side or from behind, for example Hecuba (1630;
Bramer, Leonard 51

Madrid, Prado). Bramer never concerned himself After 1635 Bramer produced many drawings.
with details, which are often only sketched in, Only rarely are the drawings related to his paint-

especially faces and architecture, but concen- ings; most are independent works of art, often
trated more on composition and preferred expres- representing literary or historical scenes. Many
siveness to formal perfection. This caused later form large cycles illustrating a particular book,

critics to consider him a good psychologist but a for example the Bible (Amsterdam. Rijksmus.).
poor draughtsman; this, however, was due to Quevedo's Suenos and the picaresque novel
Bramer's preoccupation with Italian Baroque art Lazarillo de Tormes (both Munich, Staatl. Graph.
theory, with its emphasis on Inventio as the Samml.), Ovid and Virgil, some containing up to
highest artistic quality and the Concetto as the 100 drawings. Most of these cycles are executed in
basis of creation, ideas stronger in Italy than in ink or pencil, but some are watercolours painted
the Netherlands. in an original style showing the influence of
Bramer's choice of subjects also reflects his Italian Mannerism. The illustrations always follow
preoccupations with Italian rather than Dutch art the text closely enough to show that Bramer was
practice. His paintings generally depict mytholog- a discriminating reader and did not always follow
ical, allegorical, historical or biblical scenes (e.g. pictorial conventions.

the Allegory of Vanity, Vienna, Ksthist. Mus.; An album attributed to Bramer (Amsterdam.
see col. pi. VII.), rather than popular Dutch sub- Rijksmus.) contains 56 drawings rapidly sketched
jects such as landscapes, still-lifes, portraits and in black chalk, which are copies of paintings by
genre pieces. Even the Italianate pastoral scenes contemporary artists, most of whom are named on
favoured by compatriots such as the Utrecht the bottom of each drawing. The owners of the
Caravaggisti are rare in his work. This was proba- works were mostly wealthy Delft burghers, artists

bly due to the influence of his patrons, first in and art dealers, as can be seen from an inscrip-
Rome and later in the Netherlands, rather than to tion on the back of one drawing. The artists whose
a lack of contact with other Dutch painters. works are represented include Jan Asselijn. Gerard
Bramer was among the earliest members of the ter Borch liii, Adriaen Brouwer. Karel Dujardin.
Bentvueghels or Schildersbent, the company of Gerrit van Honthorst. Roelandt Savery. Hercules
Dutch artists formed in Rome in the early 1620s; Segers and Bramer himself. The album originally

he was known under the 5enf-name of Nestelghat. consisted of many more drawings, but it never-

Bramer became a member of the Guild of St theless gives a useful insight into the quality of
Luke in Delft in 1629. His prominent position is mid-i7th-century Delft art collections. The func-
shown by the commissions given to him before tion of the album is uncertain, but it was proba-
1647 by Stadholder Frederick Henry and his bly intended as an illustrated catalogue of
nephew Prince John Maurice of Nassau-Siegen for paintings to be sold by the named owner-
their palaces at The Hague (now the Mauritshuis). other album of its kind exists.
Rijswijk and Honselaarsdijk (both destr.). Bramer Bramer lived with his sister in a smart house in

also worked for public institutions in Delft and the centre of Delft. He is not known to have had
the surrounding cities from 1630 to 1670. He even anv pupils. Adriaen Yerdoel (c 1620-c. 1690) and
tried to use the Italian fresco technique for some even Johannes Yermeer have been suggested, but
murals in the Gemeenlandshuis van Delfland. the there is no conclusive evidence, although Bramer
Nieuwe Doelen and the corridor of the house of and Vermeer's parents are known to have been
his neighbour Anthonie van Bronchorst in Delft; friends. After his death. Bramer's fame declined

these did not survive the unsuitable Dutch climate quickly and steadily until the late 19th century.
despite Bramer's frequent restorations. In 1668 the
artist painted an Ascension on the ceiling of the Bibliography
main hall of the Prinsenhof in Delft [in situ: now Thieme-Be«.

Delft, Stedel. Mus. Prinsenhof). C. de Bie: Het gulden cabinet '>6n. pp 252-3
52 Bramer, Leonard

H. Wichmann: Leonaert Bramer, sein Leben und seine (1) Salomon de Bray
Kunst (Leipzig, 1923) [Only extant monograph on (b Amsterdam, 1597; d Haarlem, 11 May 1664).
Bramer, but partially outdated and incomplete] Painter, draughtsman and designer, architect,
G. J. Hoogewerff: De Bentvueghels (The Hague, urban planner and poet. From 1617 he was a
member of the civic guard company of St Adriaen
J. M. Montias: Artists and Artisans in Delft: A Socio-
in Haarlem, where he is thought to have trained
economic Analysis of the Seventeenth Century
with Hendrick Goltzius and Cornells Cornelisz.
(Princeton, 1982)
van Haarlem (though there is no evidence for this).
J. ten Brink Goldsmith: 'From Prose to Pictures: Leonaert
Bramer's Illustrations for the Aeneid and Vondel's He remained in Haarlem until his death. He was
Translation of Virgil', A. Hist., vii/i (March, 1984), a sensitive and intelligent man who played an

pp. 21-37 important role in various cultural projects and

M. Plomp: '
"Een merkwaardige verzameling teekeningen" institutions in the city. In 1627 he was paid for
door Leonaert Bramer' ['A remarkable collection of sketches of the Zeylpoort in Haarlem; he co-
drawings' by Leonaert Bramer], Oud-HoIIand, c/2
founded the Haarlem Guild of St Hubert, for
(1986), pp. 81-153
which he designed a drinking horn (drawing,
1630; Konstanz, Stadt. Wessenberg-Gemaldegal.);
in 1631 he helped reform the Haarlem Guild of St
Luke, serving on its executive committee from
Bray [Braij], de 1633 to 1640; the same year he published a col-
Dutch family of artists. (1) Salomon de Bray was lection of engravings, with commentary, of the
the son of Simon de Bray, who moved to Holland most important buildings by Hendrik de Keyser
from Aelst in the Catholic southern Netherlands. under the title Architectura moderna; in 1634 he
Salomon was a man of versatile talents, with inter- supervised the repairs to an organ in a Haarlem
ests ranging from painting to poetry and urban church; and he took an interest in many archi-
planning. He married in 1625 and three of his tectural projects for the city, contributing, among
sons became artists: (2) Jan de Bray, Dirck de Bray other things, a plan for the enlargement of the
(fl 1651-78), an engraver and painter, and Joseph city and models and drawings for the Nieuwe Kerk.
de Bray (d 1664), a painter of still-lifes. Jan de In 1644-5 he was summoned to Nijmegen as a con-

Bray'sBanquet of Anthony and Cleopatra (1669; sultant architect to supervise the alterations to
Manchester, NH, Currier Gal. A.) is generally an orphanage and an old people's home, and in

thought to depict his parents as Anthony and 1649-50 he contributed to the painted decoration
Cleopatra and himself and his siblings as their of the Huis ten Bosch outside the Hague.
attendants. During the plague epidemic in
Haarlem in 1664, Salomon de Bray, two of his sons t. Drawings and designs
and two daughters died. Salomon was active as a draughtsman throughout
his career, beginning with a landscape drawing
Bibliography executed when he was 19 (Leipzig, Mus. Bild. Kst.),
W. Bernt: Die niederlandischen Maler des 17. which foreshadows the work of Rembrandt. There
Jahrhunderts, 4 vols (Munich, 1948-62); Eng. trans, by are numerous drawings of religious subjects, of
P. S. Falla (New York and London, 1970, 3 vols), i,
which one group of precise and carefully drawn
pp. 18-19, 179-82
sheets stands out; despite their high degree of
S. Slive: Frans Hals (London, 1974), p. 61
finish, some were used as preliminary studies for
B. Haak: The Golden Age: Dutch Painters of the 17th
paintings, such as Judith and Holofernes (1636;
Century (New York and Amsterdam, 1984), pp. 254-5,

379-8o, 392
Konstanz, Stadt. Wesenberg-Gemaldegal.) for the

Frans Hals (exh. cat. by S. Slive, Washington, DC, painting of the same subject (Madrid, Prado); a
N.G.A.; London, RA; Haarlem, Frans Halsmus.; drawing of the Annunciation (1641; Carcassone,
1989-90) Mus. B.-A.) for a picture formerly on the Dutch art
Bray, de: (2) Jan de Bray 53

market; and Rebecca and Eliezer (1660; Hamburg, Hair (Paris, Schloss priv. col., see von Moltke,
Ksthalle), which served as a basis for the painting no. 104), the latter perhaps inspired by a compo-
(Douai, Mus. Mun.). De Bray also left behind sition by Caesar van Everdingen. Salomon's paint-
numerous architectural drawings, such as that for ing of a View in a Temple (c. 1630-35; ex-art
the rebuilding of the Haarlem Stadhuis (1629). market, Berlin, see von Moltke, no. 116) is the
only known example of an architectural subject in
2. Paintings his oeuvre.
Salomon's painted oeuvre includes landscapes
(e.g. Berlin, Gemaldegal.) and numerous religious Writings

and mythological scenes, for example Jael, Architectura moderns ofte bouwinga van osten tyt

Deborah and Barak (1633; Utrecht, Catharijne- [Modern architecture in buildings of today] (Haarlem.

convent), a forceful rendering of the biblical text, 1631); ed. E. Taverne (Soest, 1971)

in which Jael is seen resolutely preparing to kill

Sisera with the hammer and nail in her hand. This
W. von Moltke: 'Salomon de Bray', Marburg. Jb. Ksrwiss.,
painting is typical of de Bray's manner of com- J.

xi-xii (1938-9), pp. 202-420

posing a scene of three figures, and in its power-
E. Taverne: Salomon de Bray's ontwerp voor de drinkhoorn
ful colour and treatment of light it reveals
van Het Loffelijke Gilde van St Hubert te Haarlem'
similarities with the work of Caravaggio. In the [Salomon de Bray's design for the drinking horn of the
two large paintings that de Bray contributed to Haarlem Guild of St Hubert|. Ned. Ksthist.Jb., win
the Oranjezaal at the Huis ten Bosch, he adopted, (1972). pp. 261-71
perhaps unconsciously, the fashionable Flemish — : 'Salomon de Bray and the reorganisation of the
style and colouring of the other painted decora- Haarlem Guild of St Luke: 1631'. Simiolus, vi (1972-3).

tions in the programme. pp. 56-69

Salomon was also active as a portrait painter,

the earliest known example being the Portrait of (2) Jan de Bray
a Nun (1622; Berlin, Gemaldegal.). From the (b Haarlem, c. 1627; bur Haarlem, 4 Dec 1697).
middle of his career is the small, but superbly Painter, draughtsman and etcher, son of dl
painted Portrait of a Woman in Profile (1636; ex- Salomon de Bray. He spent virtually the whole- ol
Althorp House, Northants, see von Moltke, no. 82). his career in Haarlem, except for the period
An unusually harmonious example is the Portrait 1686-8, when he lived in Amsterdam. After train-

of a Woman (1652; ex-art market, London, see von ing with his father, Jan began working as a por-

Moltke, no. 87). In his capacity as a portrait trait painter in Haarlem in 1650, an activity ho
painter, de Bray may have known Frans Hals, for continued for the next 40 years. Between 1667 and
he signed and dated (1628) the portrait of a small 1684 he served on the committee for the Haarlem
girl who appears in the left foreground of Hals's Guild of St Luke, whose leading members he por-

Portrait of a Family in a Landscape (c. 1620; trayed in a picture dated 1675 (Amsterdam,
Viscount Boyne, on loan to Cardiff, N. Mus., see Rijksmus.) thai includes a sell-portrai! ijan is seen
1989-90 exh. cat., no. 10); this child's portrait standing and drawing on the Left). He married
could, however, have been a later addition. three times, in 1668, 1670 and 1672. His first two
Salomon de Bray's skills at observation are also wives died a year after their marriage, his third
evident in his genre pieces, such as the two years afterwards, and in each case the death
Shepherdess with a Straw Hat and its pendant was followed by disputes over the Inheritance
Shepherd (both 1635; Dresden, Gemaldegal. Alte fan's bankruptcy ol 1689 may have been a result

Such subjects were interpreted by de Bray

Meister). ol one ol the lawsuits. He 6a al the tune, anil

with freshness and great liveliness, qualities also from then onwards he seems to have lost Ins artis-

apparent in The Flute-player (Brussels, priv. col., tic drive, crushed by the financial blow and the
see von Moltke, no. 98) and the Girl Combing her consequent loss ol social position.
54 Bray, de: (2) Jan de Bray

7. Portraits One of his last-known works is the portrait of the

More than half of Jan's painted output consists of Catholic priest Johannes Groot (1692; Haarlem,
individual portraits; besides these, there are Bisschopp. Mus.), painted three years after his
double portraits and five large, extremely impor- bankruptcy.
tant group portraits (1663-75) relating to the
regent and the local militia company. Jan's earli- 2. History subjects

est dated painting, a Portrait of a Girl (1650; Jan de Bray's painting of Penelope and Odysseus
Prague, N.G., Sternberk Pal.), is tentative and (1668; Louisville, KY, Speed A. Mus.), a double por-
subdued in style. Better and more typical is the trait of a married couple dressed up in Classical
Portrait of a Man (1658; Paris, Louvre), for which guise, is a cross between history painting and pure
a preparatory study also survives (London, BM). portraiture. Penelope is shown holding a loom on
The picture shows a man in his prime, with an which she had been working for years, hoping that
imposing physical presence, facing towards the Odysseus would return to her from the Trojan
right; he is wearing severe, black garments, with War. The dog, Argus, has recognized his master,
a white collar. The sitter's lively facial expression— even though Odysseus is disguised as a beggar.
especially his attentive gaze towards the viewer- Happily reunited at last, the couple lean towards
adds to the sense of immediacy conveyed by each other with great reserve, for the estrange-
the portrait. Thus, although it was still relatively ment resulting from their long separation has to
early in Jan's career as a portrait painter (he be overcome. Although scenes from Homer's
was just over 30 when he painted it), he had Odyssey were relatively rare as subjects for paint-
clearly already acquired considerable skill. Over ings in the northern Netherlands before the end
the years he developed this sureness of touch of the 17th century, both Salomon and Jan found
to great perfection, though at the same time his the story an important source of inspiration. Jan
portraits began to suffer from a certain imper- depicted the scene of the return of Odysseus with
sonal superficiality that detracted from their great delicacy and psychological insight, in a beau-
content. tifully unified composition.
Jan can be seen at his best in the portrait of As the years went by, Jan adopted an increas-
Andries van der Home (1662; Lisbon, priv. col., see ingly academic style in his paintings: it was
von Moltke, no. 47, wrongly identified as Jean de streamlined but correspondingly less sponta-
Chambre), a much more elegant half-length depic- neous. His picture of David with the Harp (1674;
tion of a middle-agedman, who looks out at the Brunswick, Herzog Anton Ulrich-Mus.) is an
viewer confidently and somewhat critically. He example of the rigidity that gradually overtook his
holds a document in his right hand, his gloves in work. The composition, depicting the solemn
his left. Secure in the knowledge of his position procession of King David bearing the Ark of
in Amsterdam society, van der Home observes life the Covenant to Jerusalem, is carefully worked
around him in with a cool, measuring eye. De Bray out; each figure is placed according to his impor-
has conveyed a face full of character and endowed tance. From a formal point of view, the represen-
the sober black dress worn at the time with a tation is achieved with great success, yet it is

festive brilliancy. missing the sense of immediacy that would

The group portrait of the Leading Members of otherwise have endowed the picture with real
the Haarlem Guild of St Luke (1675; Amsterdam, life. From the mid-i670S until his death, the con-
Rijksmus.) is remarkable for its sense of realism: temporary preference for a more classicizing
the guild members seem to be discussing and concept of art dominated his work, and as a result
debating some contentious point of the agenda. his originality gradually waned. This development
The intrinsically dry subject of a group of men all may also help to explain why he gave up painting
dressed in black was enlivened by the artist's creatively towards the end of his life. Only
ability to break down the conventional framework. two works are known from the period after his
Breenbergh, Bartholomeus 55

bankruptcy: besides the portrait of Johannes 7. Life and work

Groot, he painted the Four Apostles for a (i) Italian period, c. 1619-c. 1629. Late in 1619 Breenbergh
clandestine church in Amersfoort (1696; now arrived in Rome, where he remained for longer
Udenhout, parish church). than was usual for northern artists. He made con-
tact with Paul Bril. the 65-year-old painter from
Bibliography Antwerp, who had been working inRome since
W. Martin: De Hollandsche schilderkunst in die c. 1580. According to Breenbergh's own testimony
zeventiende eeuw (Amsterdam, 1935). i. pp. 27. 49. in 1653, he 'spent seven years with Bril' and copied
a number of his paintings. Breenbergh was one of
W. von Moltke: 'Jan de Bray'. Marburg. Jb. Kstwiss..
the founder-members of the Schildersbent. the
xi-xii (1938-9). PP- 421-523
association of northern artists active in Rome. He
Rosenberg. S. Slive and E. H. ter Kuile: Dutch Art and
is portrayed in drawings of 1623 ascribed to Jan
Architecture. 1600-1800, Pelican Hist. A.
(Harmondsworth. 1966 R 19821. p. 321
van Bijlert (Rotterdam. Boymans-van Beuningen).

Gods. Saints and Heroes: Dutch Painting in the Age of which represent the society's merry-making mem-
o known
Rembrandt (exh. cat., ed. A. Blankert: Washington. DC. bers, as Bentvueghels ('birds of a feather').
N.G.A.; Detroit, MI, Inst. A.; Amsterdam. Rijksmus.: His nickname within the fellowship was 'net fret'
1980-81), pp. 224-9 (Dut.: the weasel'). During his stay in Italy

J. W. VON MOLTKE Breenbergh made many drawings in Rome and its

environs, motifs that he later assimilated repeat-

edly into his paintings. His drawing style was influ-
Breenbergh, Bartholomeus enced by Bril and I •
{bapt Deventer, 13 Nov 1598; d Amsterdam, bur 5 his painting style owes much to the Pre-

Oct 1657). Dutch painter, draughtsman and etcher. Rembrandtists, but also to van Poelenburch. Like
He was one of at least eight children of a wealthy them, Breenbergh painted landscapes in the new
Protestant family in Deventer, where his father style introduced by Adam Elsheimer during the
was the town pharmacist. After his father's death first decade of the 17th century and elaborated
in 1607, the family left Deventer, probably moving upon by Filippo Napoletano and Goffredo V.

to Hoorn. No artist then living in Hoorn could Their landscapes were directly inspired by nature.
plausibly have been Breenbergh's teacher, and and they concentrated on the representation of
given the fact that his earliest works reveal the light and space.
stylistic influence of the Pre-Rembrandtists, it Breenbergh's earliest paintings, dating from
is more probable that he was apprenticed in 1622. are busy, overcrowded landscapes contain-
Amsterdam. In 1619 he was called upon to give tes- ing awkward, wooden figures scape with
timony in Amsterdam: on this occasion his pro- the Finding ckholm. Hallwylska
fession was listed as 'painter'. His oeuvre can be Mus.), clearlv the work of an inexperienced artist

divided stylistically and iconographically into two The early work ol Breenbergh has long been
distinct groups. He belonged to the first genera- confused with the early work ol van Poelenburch.
tion of Dutch italianates, northern artists who This contusion originated in France in the iSth

travelled to Italy in the 1620s and were inspired century, when a number of van Poelenburch's
by the light and poetry of the southern landscape. paintings were attributed to Breenbergh. In

The work of this period consists of numerous Napoleon's inventory ol era! paint

Italianate landscape drawings and paintings. On which since the 17th century had been considered
his return to the northern Netherlands he settled to be by van Poelenburch. appeared under
in Amsterdam, where he painted more severe and Breenbergh's name Many related pieces have also

monumental landscapes, often with historical been ascribed to him since then. It is only since

subjects, which were strongly influenced by the 1969 that scholars have attempted to differentiate
Pre-rembrandtists. the two hands Although it is now clear that the
56 Breenbergh, Bartholomeus

differences are usually greater than the similari- While only a small portion of Breenbergh's
ties, the problem has yet to be definitively solved. painted oeuvre was made in Italy, the majority of

Between 1625 and 1630 Breenbergh painted his drawings date from this period. Of the c. 200
landscapes with gently sloping hills and Roman drawings known, only about 35 were made after
ruins (e.g. roundel of Landscape with Ruins; his return to the Netherlands; the rest date to the

Cambridge, Fitzwilliam), which greatly resemble period 1624-9. The earliest, from 1624, are much
van Poelenburch's production during the early more accomplished than the paintings from the
1620s. The scale of the architecture in same period. Breenbergh's drawings are not
Breenbergh's works, however, is usually larger and sketches or preliminary studies for paintings, but
the figures smaller and less numerous than in autonomous works of art, most of which are
Poelenburch's. Breenbergh frequently placed a tall signed and/or dated. The drawings are almost
architectural element (often seen from the nar- exclusively executed in a delicate technique of pen
rowest side) in or near the centre of the composi- and brown ink with a brown, or in a few cases
tion (see fig. 11) or, alternatively, completely to grey, wash. The execution of line is lively; the
one side, while van Poelenburch's compositions, artist rarely employed continuous contour lines,

with accents on both sides, are calmer and more but rather series of dots, curlicues and small
balanced. The subtle green and grey tints in the dashes. The wash adds a note of calmness or sta-

soft slopes of the landscape, the meticulous detail bility, although never to such an extent that the
and the manner of execution in which the indi- drawings might be termed 'classical'. The combi-
vidual brushstrokes are barely perceptible are nation of spontaneity and detail bespeaks techni-
strikingly similar for both painters. After 1630 cal prowess.

Breenbergh developed his style in other direc- Many drawings were made on the spot, others
tions, ending the possibility of confusion between (the most complete compositions) were carried out
the two artists. in the studio. He often depicted the ruins of Rome

11. Bartholomeus Breenbergh: Adoration of th

Breenbergh, Bartholomeus 57

and the Campagna, usually set in a landscape, as

in the large and impressive Temple of the Sibyl at

Tivoli (New York, Pierpont Morgan Lib.) and Ruins
near Porta Metronia, Rome (Oxford, Christ
Church). He also made pure landscape drawings
(e.g. Budapest, Mus. F.A., see Roethlisberger, 1969,
fig. 66). In contrast to his paintings, his drawings
rarely include figures. The way in which
Breenbergh represented ruins and rock forma-
tions is often reminiscent of Bril's draughtsman-
ship. Breenbergh's compositions, however, are
more naturalistic. Whereas Bril continued to make
clear distinctions between foreground, middle
ground and background, Breenbergh adopted
more subtle perspectival conventions, often using
an oblique viewpoint or a pronounced diagonal.
It is probable that Conte Orsini of Bracciano
commissioned some of Breenbergh's drawings,
including the series of views near Bomarzo and
Bracciano (ex-Bracciano priv. col., now scattered,
e.g. Amsterdam, Rijksmus.; Paris, Louvre; London,
BM), which are among the best examples within
his drawn oeuvre.

(ii) Dutch period, c. 1629-57. Breenbergh probably left

Italy in 1629. He settled in Amsterdam by 1633, the

year he married Rebecca Schellingwou, and 12. Bartholonu'us Bl Rich x

remained there until his death. The early 1630s Man, 1633 (Kassel. Staatliche Museen Kassel]
were the most productive period of Breenbergh's
career and the period during which drastic
changes took place in his style and choice of sub- literally and figuratively assuming a smaller
ject-matter. Undoubtedly under the influence of place within the composition For tins reason
his renewed acquaintance with the work of the Breenbergh's paintings are difficult to categorize:

Pre-Rembrandtists, Breenbergh began to introduce most are not. strictly speaking, history pieces, hut

biblical and mythological figures into his land- to term them "landscapes with historical SO
scapes (see fig. 12). The paintings are larger, the is to underrate the importance ol the historical

compositions more ambitious and the figures scenes within the compositions. The question is

more emotive. His expressive figural types reveal important in determining Breenbergh's position
affinities with those of the important Pre- within 17th-century Dutch art in general and with
Rembrandtist Pieter Lastman. respect to the Dutch Italianates m particular,

Breenbergh's choice of subject-matter, espe- rhrough the prominence of the historical scenes

cially the interest in Old Testament themes, also in the landscapes, Breenbergh and. to a l<

seems to have been influenced by the Pre- extent, van l'oelenbureh distinguish themselves

Rembrandtists. In Breenbergh's representations from SUCh later Dutch Italianates as Jan Both and
(e.g. Landscape with Tobias and the Angel, 1630; laas Berchem, whose staffagc consisted of

St Petersburg, Hermitage), however, the biblical non-narrative figures. Although such incidental
scenes are often placed further in the background, figures are also found in works in Breenbergh and
58 Breenbergh, Bartholomeus

van Poelenburch, they occur almost exclusively bathing figures (e.g. Rome, priv. col., see
in earlier landscapes, painted during their stay in Roethlisberger, 1981, fig. 209) or with the famous
Italy. scene from Cimon and Iphigenia, a theme from
A good example of Breenbergh's mature style Boccaccio's Decameron that enjoyed remarkable
is the Landscape with Christ and the Woman of popularity in the northern Netherlands between
Samaria (1636; Rome, Pal. Corsini). He represented 1630 and 1650. Seven paintings by Breenbergh rep-
the themes several times, with a different resenting this subject are known.
approach each time. Landscape, architecture and During these years Breenbergh also painted a

figures form a far more harmonious whole in this number of portraits (e.g. Portrait of a Man, 1641;
picture than was usual in his early work, and the GB, priv. col., see Roethlisberger, 1981, fig. 202a)
composition is lucid and balanced. Characteristic of high artistic value. After 1647 there are no more
is the dark foreground with on one side a low dated or datable paintings or drawings until 1654,
coulisse and a view into the distance, and on the the date of his Jacob Selling Corn to the People
other side monumental Classical architecture. The (Dumfries House, Strathclyde). This is the only
palette reveals a tendency towards the mono- painting in his entire oeuvre of which he (a year
chrome that was typical of the latter half of the later) made a replica (U. Birmingham, Barber
1630s and for Breenbergh was perhaps related to Inst.); he was probably commissioned to do so.

his contact with Nicolaus Kniipfer (71603-55), who These two large canvases form the apex of his late

was then working in Amsterdam. The lighting in monumental style, so different from the charm-
the painting is somewhat agitated, with several ing landscapes of his Italian period.
scattered illuminated areas; Breenbergh never
employed the warm, all-encompassing southern 2. Critical reception and posthumous reputation
light that characterized some of the work of It is curious that Breenbergh, whose production
van Poelenburch and the following generation was considerable— there are more than 100 extant
of Dutch Italianates. With only a few exceptions, paintings— was so quickly forgotten in his own day.
Breenbergh always remained closer to the Pre- None of the contemporary artists' biographies
Rembrandtists in his treatment of light and land- mention him, and even Houbraken knew nothing
scape, and he was more manneristic in his more about this painter than his name and
approach than van Poelenburch, whom he never- requested information from his readers. Few of his
theless surpassed in monumentality. works appear in 17th-century Dutch inventories
During the late 1630s and the 1640s and auction catalogues; during the 18th century
Breenbergh also made some 50 prints after his his name is encountered slightly more often.
own drawings, mostly of ruins in or near Rome One of the reasons for this apparent neglect is the
(Hollstein, nos 1-52). His productivity diminished fact that, unlike van Poelenburch, he does not
significantly during his last 15 years, probably seem to have had any workshop or pupils, so that
partly due to his having taken on other obliga- his style and subject-matter were not widely
tions. In 1652 and 1655 he was named as a mer- disseminated.
chant. However, the quality of the approximately It is also quite possible that many of
25 paintings from this period reached even greater Breenbergh's paintings were sold abroad.
heights. The pictures varied in type and format, Unfortunately nothing is known of his buyers and
ranging from landscapes with only a few large patrons, but in France he became famous. Not
figures to architectural pieces containing crowded only are many of his works found in important
scenes (e.g. Martyrdom of St Lawrence, 1647; 18th-century collections there, but he was also
Frankfurt am Main, Stadel. Kstinst.). The compo- highly celebrated by French artists' biographers.
sitions became more monumental and the figures His technique and choice of subject-matter influ-
more emotive, even to the point of caricature. enced the drawing style of his near contemporary
He also painted several pastoral landscapes with Claude Lorrain.
Brekelenkam, Ouiringh van 59

Like many Dutch Italianate painters, during Petersburg, Hermitage) or reading, a popular
the second half of the 19th century Breenbergh's subject in Leiden. The genre paintings include inn
paintings went out of fashion. However, by the end scenes and numerous images of market stalls, but
of the 1950s, when art historians ceased to con- the of them depict either domestic
centrate all their attention on the so-called realist scenes (e.g. Old Woman Combing a Child's Hair,
landscape painters of the Dutch golden age, his 1648; Leiden, Stedel. Mus. Lakenhal) or workshop
reputation began to recover. which were his speciality.
scenes, In his Tailor's

Workshop (1653; Worcester. MA, A. Mus.), the

Bibliography craftsman and his apprentices sit atop a table on
Hollstein: Dut. & Flem. the left side of the picture, where a combination
W. Stechow: 'Bartholomeus Breenbergh, Landschafts- und of strong light from the window and the off-centre
Historienmaler', Jb. Preuss. Kstsamml., li (1930),
vanishing-point activates the space. On the right,
pp. 133-40
in a dark vertical area, a woman sits calmly prepar-
M. Roethlisberger: Bartholomaus Breenbergh:
ing a meal by a fireplace.
Handzeichnungen (Berlin, 1969)

— : Bartholomeus Breenbergh: The Paintings (Berlin and

Brekelenkam's early genre works, from the

New York, 1981)

1640s and 1650s, are related in subject-matter

NICOLETTE C. S LUIJTE R-SE IJ FFE RT to the Leiden 'fine' painters, a group of artists

centred around Dou. But Brekelenkam seldom

employed the minutely finished technique for

which the 'fine' painters were famed, preferring

Brekelenkam, Ouiringh [Quirijn] a looser manner of handling, which has been
(Gerritsz.) compared to that of Gabriel Metsu; he also avoided
(5?Zwammerdam, nr Leiden, after 1622; d Leiden, prettifying his scenes of 'simple folk'. In his

?i66g or after). Dutch painter. He probably trained works, meaning is usually conveyed by form and
in Leiden, possibly under Gerrit Dou. In 1648, with composition rather than by emblematic or
several other painters, he founded the Guild of St literary reference.

Luke in Leiden. He married for the first time in In the 1660s Brekelenkam followed the current
1648 and again in 1656, a year after his first fashion in painting high-life genre scenes: eleganl
wife's death. In 1649 his sister Aeltge married conversations and ladies receiving letters or at

the painter Johannes Oudenrogge (1622-53), and their toilets. His manner often approaches thai of

the couple soon moved to Haarlem while the Gerard ter Borcfa lii). whose influence he dearly
Brekelenkam family remained in Leiden. About acknowledged in his Woman at her Toilet (H
1656 Brekelenkam apparently acquired a licence Liibeck, priv. col.), which borrows motifs from two
to sell beer and brandy, perhaps because his works by that master. In Brekelenkam's Interior
income as a painter was insufficient to support (1663; Zurich. Ksthaus), the humble kitchens of his

his large family (six children from his first mar- earlier works have given w.iv to a finely appointed
riage and three from his second). He continued to home where a maid wails, market pail on her arm.
be active as an artist and paid his guild dues fairly for the money ber eleganl mistress is about to give

regularly. The last dues were paid in 1667, and his her for the shopping. Hanging on the wall is a por-

last dated painting, the Portrait of a Man Aged 33, trait of a man. perhaps the provider ol the wealth

is from 1669. thai supports such refined domestic economy.

Like many painters of his time, Brekelenkam
was prolific, producing several hundred paintings Bibliography
of greatly varying quality. Most of these are \\ Havard - bolltmdMis, w (Paris. i
s -

genre scenes, although there are also individual

and family portraits and some still-lifes. Other 1 Plietzscb HoMndiscbe und tUmiscbe / •'.//.

paintings show hermits praying (e.g. 1660; St Jahrhuaderts (Leipzig. 1960)* PP •

60 Brekelenkam. Ouiringh van A Genre Painting by Brekelenkam', Allen brushwork seem to have served as an example for
Mas. Bull., I -
pp. 74-84 van Bronchorst. A compositional type exploited by
Masters of Seven teen th-century Dvtcb Genre Painting van Bronchorst throughout his career is that of
-.phia. PA. Mus. A,
the Music-making Party on a Balcony (e.g. 1646:
funher bibliog.]
Utrecht. Cent. Mus.i. in which the figures are seen
A. Lasius: Quiringh Genitsz. Brekelenkam (diss.. U.
illusionistically from below, set against a classi-
cizing architectural background: the result is a
friezelike decorative composition, unlike the
rough genre scenes of the Utrecht Caravaggisti. He
did, however, follow his fellow Utrecht painters
Bronchorst [Bronckhorst], van in incorporating life-size figures in pastoral cos-

Dutch family of artists. tumes into his history paintings and genre scenes.
The plump proportions and round faces of these
(1) Jan (Gerritsz.) van Bronchorst figures give the pictures a provincial charm. There
ife Utrecht, c. 1603: d Amsterdam, before 22 Dec are only a few known portraits, painted in a style
1661 1. Glass painter, etcher and painter. Son of a indebted to van Honthorst and Paulus Moreelse.
gardener, he was apprenticed aged 11 to the From 1647 van Bronchorst received major com-
Utrecht glass painter Jan Verburch (/7 early 17th missions for monumental glass windows in
centuryi. He also studied in Arras with the other- Amsterdam. The fame of his four windows in the
unidentified Pieter Mathys. From Arras he Nieuwe Kerk was widespread, but the only sur-
went to Paris to work with Chamu if] 1585-early viving part is a section from the north transept
17th century), one of the leading glass painters window depicting the Donation of the Amsterdam
City Coat of Arms by Count Willem A In its illu-
there. After his return to the Netherlands he .

became a citizen of Utrecht and worked both as a sionistic portrayals and the modelling of the
glass painter and as a designer of coats of arms figures bymeans of an accentuated chiaroscuro,
for tapestries and seals. In 1622 he married this window resembles the style of his oil paint-
Catalijntje van Noon. By this time he was taking ings. One drawing survives for a window idestr.)
lessons in the workshop of Gerrit van Honthorst. in the Amsterdam Oude Kerk 11656: Amsterdam.
a leading member of the Utrecht Caravaggisti. In Gemeente Archfi. Due to the increasing number
the 1630s he produced etchings after Cornelis van of such commissions he moved, c. 1650, to
Poelenburch and later also after his own designs. Amsterdam, where he became a citizen in 1652.
The Siege of Breda 116371. printed from six plates, In Amsterdam, van Bronchorst continued to be
is a high point of his graphic work. successful and was involved in the most important
Van Bronchorst subsequently concentrated on contemporary decorative painting schemes. In
oil painting, though continuing to work as a glass 1655 he decorated the shutters of the new organ
painter, and in 1639 he became a member of in the Nieuwe Kerk with scenes from the Life of
the Utrecht Guild of St Luke. His earliest dated King David. His experience in mastering monu-
oil painting, the Idolatn? of Solomon (1642: mental picture areas in his glass paintings was put
Greenville, SC, Bob Jones U. Gal. Sacred A.i. is to good use in these exceptionally large works. The
notable for combining Flemish and Utrecht main scene, the Anointment of David 116551.
sources. The theatrical composition clearly relies despite its impressive size and magnificent colour-
on martyrdom scenes in the tradition of Veronese ing is an incoherent composition, consisting of
and Peter Paul Rubens, while the combination figural motifs taken largely from works by
of contrasting areas of shadow and light with Veronese and Titian. His works for the Amsterdam
cool colouring is reminiscent of the work of Stadhuis mow the Royal Palace) show a similarly
Honthorst as well as that of Hendrick ter eclectic classicism. In 1659 he signed his last major
Brugghen. whose painterly approach and fluent work. Moses Appointing Judges over the People of
Brugghen, Hendrick ter 61

Israel, which was installed above one of the fire- those painted by Dutch Italianate artists. Johannes
places in the council chamber (raadzaal ). In 1660 left a small oeuvre of impressive quality, which
he was asked by the civic commissioners to anticipated the endeavours of the following
improve this enormous work but by then was suf- generation of Dutch classicists, such as Gerard de
fering from a severe illness that probably pre- Lairesse. By the 18th century, however, he had
vented him from doing so. been forgotten, and until the mid-1980s his works
were wrongly attributed to his father.

(2) Johannes (Jansz.) van Bronchorst

(b Utrecht, bapt 21 Aug 1627; d Amsterdam, bur Bibliography

16 Oct 1656). Painter, son of (1) Jan (Gerritsz.) van Hollstein: Dut. & Flem.

Bronchorst. Johannes and his younger brother S. Colvin: *Drie brieven van Jan Gerritsz. van Bronchorst'.

Oud-Holland, iv (1886). pp. 212-13

Gerrit (Jansz.) van Bronchorst (b Utrecht, c. 1636;
A. van der Boom: 'Monumentale glasschilderkunst in
bur Utrecht, 1 April 1673), who later worked in
Zuid- en Noord Nederland in de zeventiende eeuw'.
the style of Cornells van Poelenburch, travelled
Kunstgeschiedenis der Nederlanden. iii. ed. J. Duverger
together to Rome, where Johannes is documented
(Utrecht. 1956I. pp. 239-47
between 1648 and 1650. There he developed a
G. Hoogewerff: 'Jan Gerritsz. en Jan Jansz. van

cool, academic style, which he combined with Bronchorst: Schilders van Utrecht'. Oud-Holland. lx.xiv

Caravaggesque light effects. Closest to the work of (1959). PP- 139-60

Caravaggio is his St Bartholomew (1652; Vaduz, J. R. Judson: 'Allegory of Dawn and Night". Wadsworth
Samml. Liechtenstein). The influence of his father Atheneum Bull., vi/2 (1966). pp. 1-11

is perhaps most obvious in Bathsheba with David's B.J. Buchbinder-Green: The Painted Decorations of the
Town Hall of Amsterdam (diss., Evanston.
Letter (Rome, Pal. Barberini). Its composition of
Northwestern U., 1974. microfilm. Ann Arbor. 1975).
figures seen from below was inspired by Jan
pp. 92-3. 112. 125-6. 132-4
Gerritsz. 's balcony scenes, but the darker colour-
Hollandische Malerei in neuem Licht: Hendrick ter
ing, the elegantly elongated proportions and the
Brugghen und seine Zeitgenossen (exh. cat., ed. A.
contemplative air of his figures distinguish the Blankert and L. J. Slatkes; Utrecht Cent

work from that of his father, as does the different Brunswick. Herzog Anton Ulrich-Mus.; 1986-71.
style of his signature. In Rome and later in pp. 236-44

Amsterdam, he was regarded as the creator of par- T. Dbring: 'Caravaggeske Aspekte ini Work Johanna van
ticularly refined portraits, in which the sitters are Bronchorsts'. Hendrik ter Brugghen und die

so stylized as to be lifeless Nicolaes Oetgens Nachfolger Caravaggios in Holland Her

Symposions im Herzog Anton Ulrich4iuseum
van Waveren; 1656; Amsterdam, Hist. Mus.).
Braunschweig 1987, ed R Hessmann Brunswick. 1

Johannes returned to the Netherlands c. 1652

1988). pp. 155-65
and collaborated with
his father

including the decoration of the Amsterdam

on larger pro-
— : 'Between Caravaggism and Classicism: Bathsheba b\

Jan Gerritsz. and Johannes van Bronchoi

Stadhuis, where he painted the ceiling of the Hoogsteder-Naumann Meiruiy. vii

Burgomaster's chamber with Allegories of the — : Studien /ur KQnstierfamilie ran Bronchorst (Alfter,

Powers of the Burgomaster (1655-6). The magnif- 1993)

icent Allegory of Dawn and Night (Hartford, CT, I MOM \S DO K I \(.

Wadsworth Atheneum), long considered the work

of his father, must be regarded as Johannes's mas-
terpiece. Strongly influenced by contemporary
Italian sources and by van Poelenburch, the two- Brugghen [Terbrugghen], Hendrick
tiered composition depicts Aurora and her atten- (Jansz.) ter
dants hovering in a dark cloud above the bearded (bTThe Hague, 1588; d Utrecht, 1 No* 1629) Dutch
figure of Tithonus and two river gods, who are painter and draughtsman. He was. with ril van
seated in a hazy golden landscape reminiscent ol Hont hoist and Pink van Baburen. one ol the
62 Brugghen, Hendrick ter

leading painters in the group of artists active tified master in The Hague before finishing
in Utrecht in the 1620s who came to be known as his training with Bloemaert, or whether, like
the Utrecht Caravaggisti, since they adapted Rembrandt, he first received a conventional Latin
Caravaggio's subject-matter and style to suit the education in preparation for a career as a civil

Dutch taste for religious and secular paintings. Ter servant. The matter is of some importance since
Brugghen was an important innovator for later it raises the possibility that ter Brugghen was a

Dutch 17th-century genre painting; his recogni- relatively late or slow starter, which might
tion as an unorthodox, but significant influence account for the problems involved in identifying
on the work of Johannes Vermeer and others is a his early work. Exactly how long Hendrick spent
relatively recent, 20th-century phenomenon. in Bloemaert's workshop also remains unknown,
but it is unlikely that his training began before
7. Life and work 1602, when his father returned to Utrecht.

(i) Background and training in The Hague and Utrecht,

before c. 1605. His grandfather, Egbert ter Brugghen (ii) Italy, c. 1605-14. During the summer of 1614 ter

(d 1583), was a Catholic priest who came from a Brugghen, along with another Utrecht artist,

prominent Utrecht-Overijssel family and who, in Thijman van Galen (b 1590), was in Milan prepar-
the last years of his life, served as the pastor of the ing for his return journey through St Gotthard's
Utrecht village of Ter Aa. Hendrick's father, Jan Pass to the northern Netherlands. In a Utrecht
Egbertz. ter Brugghen (c. 1561-71626), though ille- legal deposition dated 1 April 1615, concerning a
gitimate, had a successful career as a civil servant: third Utrecht artist they had met on their return
in 1581 he was appointed secretary to the court of journey, Michiel van der Zande (c. 1583-before
Utrecht by Prince William of Orange and in 1586 1643), and his young servant, the future landscape
he was first bailiff ordinaris of the chamber of the painter Frans van Knibbergen (c. 1597-1665 or
Provincial Council of Holland atThe Hague. after), ter Brugghen and van Galen testified that

Hendrick's date of birth is derived from the they 'had spent some years in Italy exercising their
biographical inscription placed on the four frames art'. The ambiguous Dutch term ettelicke ('some')

of his series of the Four Evangelists (1621; used by ter Brugghen in the document usually
Deventer, Stadhuis) by Richard ter Brugghen (c. implies an amount less than ten, thus suggesting
1618-1708/10), the only survivor of his eight chil- that the presently accepted sojourn of ten years
dren, who presented the canvases to the city of should be modified. While ter Brugghen could
Deventer in 1707. have spent as little as two or three years in

Hendrick was probably born in The Hague Bloemaert's studio before travelling to Italy c. 1604
rather than Utrecht, as previously believed, since or 1605, he probably left in the spring or summer
his father appears regularly in The Hague docu- of 1605— at the age of 16 or 17. He must have arrived
ments from 1585 to 1602. The young Hendrick in Rome by 1606, if Cornelis de Bie's statement
probably also received his earliest education (1708) that he knew Rubens in that city is correct.

in The Hague. However, between 1602— when If so, then ter Brugghen would have been the
Hendrick would have been 13 or 14— and 1613, Jan only member of the Utrecht Caravaggisti to have
ter Brugghen is again intermittently recorded in arrived in Rome while Caravaggio was still active

Utrecht, where Hendrick studied with Abraham there. Unfortunately, unlike his compatriots van
Bloemaert— an indisputable fact supported by Honthorst and Dirck van Baburen, there is no trace
such 17th-century sources as Sandrart (1675), who of ter Brugghen's long stay in Italy— either in the
had known the painter while a student in Gerrit form of a document or a work of art. It may be
van Honthorst's Utrecht workshop c. 1625-8. that his youthful style in Italy was sufficiently dif-

(Bloemaert was also van Honthorst's teacher.) ferent from that which he developed after his

What is unknown, however, is whether ter return to the northern Netherlands to remain
Brugghen first studied with some as yet uniden- unrecognized.
Brugghen, Hendrick ter 63

(iii) Early Utrecht period, 1615-24. In 1616 ter Brugghen Brugghen, in the unusual Christ Crowned with
entered the Utrecht Guild of St Luke and on 15 Thorns (1620; Copenhagen, Stat. Mus. Ksti, again
October of the same year he married Jacomijna tempered his personal form of Caravaggism with
Verbeeck (d 1634), the stepdaughter of his native poses and physiognomic features, this time
elder brother Jan Jansz. ter Brugghen, a Utrecht drawn from the prints of Lucas van Leyden.
innkeeper. Even though Utrecht was a predomi- These traditional Netherlandish insertions
nantly Catholic centre, the marriage ceremony largely ended with the return of van Honthorst
took place in a Reformed Church, and since the and van Baburen from Italy during 1620. Together
children of this marriage were also baptized in the with ter Brugghen, these artists quickly succeeded
Reformed Church, it seems likely that the artist in transforming the nature of Utrecht art during
was himself Protestant rather than Catholic, as the following year. Indeed, at the beginning ol

was previously thought. This raises important 1621 ter Brugghen was still producing works
questions about the subject-matter and function such as the Four Evangelists (Deventer. Stadhuis),
of several of the artist's most important works. which has the same unusual mixture of
Ter Brugghen's earliest known work, a life-size Caravaggesque elements and traditional 16th-

Supper at Emmaus (1616; Toledo, OH. Mus. A.), century Netherlandish still-life details later that

reveals that he had studied Caravaggio's painting same year, however, when he came into contact

of the same theme (between 1596 and 1602; with the latest Italian Caravaggesque ideas

London, N.G.) as well as another version by an brought back by van Baburen (with whom he
anonymous north Italian artist (Vienna, Ksthist. probably shared a workshop from c. 1621 until

Mus.). Thus ter Brugghen turned not only to the van Baburen's death early in 1624). ter Brugghen
works of Caravaggio himself but also to his north executed two lovely pendant versions of lite Flute-

Italian sources and followers. Indeed, various player (both Kassel, Schloss Wilhelmshohei. one
works by members of the Bassano family and their depicted in a pastoral manner, wearing an all'an-
workshop exerted an ongoing influence on ter tica, toga-like costume, and the other more the-
Brugghen. The only other known dated painting atrically dressed in a flamboyant outfit of the
by ter Brugghen from this early Utrecht phase of type usually described as 'Burgundian*. These
his development is the signed and dated Adoration influential works are dependent on the Italian

of the Magi (1619; Amsterdam, Rijksmus.), an Caravaggesque elements developed by Bartolomeo

important picture that betrays the influence of Manfredi in Rome after ter Brugghen had departed
such followers of Caravaggio as Carlo Saraceni. in 1614; they can thus only have been introduced

Several undated works by ter Brugghen can be into Utrecht by van Baburen and van Honthorst

assigned on stylistic grounds to the period before Van Baburen. in particular, was an important
1620, including the strikingly coloured, full- iconographic and artistic innovator in Utrecht,

length version of the Calling of St Matthew (Le who provided Brugghen and other members ol

Havre, Mus. B.-A.), which ter Brugghen repeated in the Utrecht Caravaggisti with both new themes
a more compact, half-length composition with a and new approaches to old themes; these were
modified colour scheme (1621; Utrecht, Cent. quickly taken up mm\ transformed in- ter
Mus.). These two paintings and other early works Brugghen.
are remarkable for their utilization of early 16th- Despite their varied sources, the two versions

century Netherlandish physiognomic types and of The Flute-player do possess the hallmarks ol ter

still-life details intermixed with formal elements Brugghen's style and personality a subtle utiliza-

drawn from Caravaggio's famous painting of the tion o\ unusual colour harmonies, livelv brush-

same subject in S Luigi dei Francesi, Rome. In work and paint surfaces, complex and varied
modify the Italianate drapery folds and. especially, a certain reticence
another apparent attempt to

elements of his style and thus make his work in the compositional Structure, which stands in

more acceptable to conservative Utrecht tastes, ter marked contrast to the more extrovert types and
6.1 Brugghen, Hendrick ter

arrangements frequently found in the pictures of Dutch beliefs concerning the complementary
van Honthorst and van Baburen. From 1621 ter effects of smoking (hot and dryi and drinking (hot
Brugghen often employed a cool, crisp light source and moist), adding an unusually sensitive investi-

and a sense of form derived as much from the gation of the movement of candlelight across
direct observation of the movement of light across the complex arrangement of fabric and form.
surfaces as from such prime Italian followers of Moreover, especially in the better-preserved Boy
Caravaggio as Orazio Gentileschi. A closely similar Lighting a Pipe, one of the earliest paintings to
light quality is found in van Baburen's work, focus exclusively on the new activity of tobacco

implying that both painters developed this char- smoking, he introduced idiosyncratic colour rela-

acteristic aspect of their style from their study of tionships quite different from those found in his
Gentileschi in Italy. Interestingly, ter Brugghen works from before 1621.
only rarely deployed the kind of artificial illumi- About the same time ter Brugghen took up the

nation popularized by van Honthorst. traditional northern theme of the Unequal Lovers
In an effort to account for the new and up-to- (c. 1623: New York. priv. col., see 1986-7 exh. cat.,
date Italianate elements in the two versions of The no. 14) in an unusually compact, half-length com-
Flute-player as well as in others, it has been sug- position that suggests that he had early 16th-
gested that ter Brugghen made a second journey century northern moralizing pictures in mind.
to Italy fSchuckman). However, the only time when Indeed, specific details of the depiction of the old
the artist's presence in Utrecht is not documented man— including his costume— indicate that ter

is between the summer of 1619 and the summer Brugghen had read the appropriate passages in

of 1621 hardly long

, enough for him to accomplish Erasmus's famous In Praise of Folly 115111.

the full agenda of stylistic contacts and influences Although no longer indulging in the same kind
that some scholars would like to assign to of borrowing of archaic motifs as before, ter

this unconfirmed second sojourn in Italy. Brugghen clearly continued to look to his north-
Furthermore, since there are more dated works by ern artistic antecedents more than his Utrecht
ter Brugghen from 1621 than almost any other contemporaries. At the same time, the picture is

year, it is unlikely that he could have spent any also strongly dependent on van Baburen for

part of that critical year travelling. various stylistic and thematic elements: the two
After 1621 ter Brugghen produced numerous artists obviously had an unusually close working
single-figure genre pictures of the type usually relationship throughout the early 1620s.
associated with Utrecht: lute-players, musicians, In the lovely Liberation of St Peter 11624: The
drinkers etc. These are usually rendered with a Hague, Mauritshuis). with colour and composi-
sensitivity beyond the reach of his Utrecht col- tional patterns that seem to develop out of the
leagues (who had originated these themes) and Boy Lighting a Pipe, ter Brugghen returned to reli-

with compositional reticence that is frequently in gious subject-matter and introduced new physical
sharp contrast to the type of activities depicted: types for both the angel and the saint, types that
the theatrical Singing Lute-player (c. 1623; Algiers, continued to recur in his works until his death.

Mus. N. B.-A.), for example, is depicted in lost The new type for the angel, with its declamatory
profile with his back turned towards the viewer. gesture, was probably at least partly indebted to
In the pendant canvases (both 1623) of a Boy van Baburen, who had used a similar pose for an
Lighting a Pipe (Erlau, Lyzeum) and a Boy Holding Annunciation luntraced; copy by Jan Janssens.
a Glass (Raleigh, NC Mus. A.), ter Brugghen intro- Ghent, Mus. B-
duced the northern Caravaggesque device of
internal artificial illumination associated in (iv) Mature Utrecht period, 1625 and after. About 1625 ter

Utrecht with van Honthorst. Characteristically, ter Brugghen entered into a new and more mature
Brugghen imbued these apparently simple genre phase of his artistic development with two of
depictions with ideas developed from popular his most important and innovative paintings, the
Brugghen, Hendrick ter 65

Crucifixion with the Virgin and St John (New York. Medallions and tokens with similar images of the
Met.) and St Sebastian Tended by Women (Oberlin. sleeping god of war had been struck to commem-
OH, Allen Mem. A. Mus.). Both have monumental orate the signing of the truce in Utrecht in 1609.
compositions and the sort of steep perspective tra- and the artist and his patron would certainly have
ditionally associated with altarpieces for Catholic been aware of the symbolic message of these and
churches, although it cannot be proven that either other related works.
ever served such a religious function. Most strik- Ter Brugghen's most beautiful and successful
ing is the Crucifixion, an unusually expressive, but genre paintings, also among his mature works,
obviously 17th-century recreation of a 15th-cen- include the candlelit Musical Compan\
tury northern Netherlandish work of art. The low London. N.G.). The composition's unusual formal-
horizon line, the simple iconic composition, the ity, in contrast to the everyday activities depicted,
star-studded sky and the rendering of the body of along with other details suggest that ter Brugghen
Christ, as well as other details, suggest that ter was inspired by a musical allegory similar to that
Brugghen— or more likely his patron— wanted an found Musicians (New York. M
in Caravaggio's
old-fashioned picture that could pass, at least The choice of the three essential categories of
at first glance, for a 15th-century altarpiece. The music-making (voice, winds and strings) and the
St Sebastian, on the other hand, is a modern elegantly placed wine and grapes— symbolic of the
Caravaggesque work that clearly reflects elements Bacchic origins of music— support such an inter-
of Caravaggio's Entombment {Rome. Pin. Vaticana) pretation.
as well as his Incredulity of Thomas (Potsdam. In 1627 the great Flemish painter Peter Paul
Neues Pal.); notable in all these works is the use Rubens visited Utrecht and stayed in the inn
of powerful descending diagonals and the careful owned by ter Brugghen's brother (lending some
positioning of the three heads. Although the new credence to de Bie's report that the two artists had
theme of St Sebastian Tended by Women owes met in Rome). He apparently praised the work of
something to van Baburen's innovative painting ter Brugghen above that of all the other Utrecht
of the same subject (Hamburg, Ksthalle). ter artists. This praise would not be difficult to under-
Brugghen's version is one of those rare pictures stand even if Rubens had seen only ter Brugghen's
that completely transcends its formal and icono- Musical Company. Rubens's visit may be at

graphic sources, a work whose unusually high level partly responsible for the rem of Italian
of artistic and expressive perfection was rarely elements in ter Brugghen's work at this time,
matched in Dutch 17th-century religious painting as can be seen, for example, in the candlelit
before the mature works of Rembrandt. Jacob am: 1 drid. Col. Thysj
One of the most unusual of the extremely Bornemisza), which, although formally structured
varied group of history and genre pictures that ter like the Musical Croup, is also strongly indebted

Brugghen created during the second half of the to elements borrowed from the Bassano workshop.
1620s is the Sleeping Mars (c. 1625 or 1626: as is his second version of the same theUM
Utrecht, Cent. Mus.). The picture was enormously Berlin. Bodemus.i. The rich and varied surt.u

popular during the 17th century; around 1650 and the M :npan\ and other late pictures
even later it was the subject of several didactic ter Brugghen. for instance Melancholy (Toronto,
poems, although the theme was explained entirely -
>nt.i. make it clear that the master's rein

in terms of Dutch political events of that later interest in north Italian painting was not limned
period. In fact, ter Brugghen's picture was exe- imposition alone The layers of fluid, semi-
cuted a few years after the Twelve Years' Truce transparent brushwork. unusuallv subtle colour
between Spain and the revolting northern harmonies and artificial illumination all combine
provinces of the Spanish Netherlands had ended to prodw 'the artu
in 1621 and should thus be understood as a plea works, furthermore gure COD
for peace after the resumption of hostilities such as the candlelit Old Man Writing
66 Brugghen, Hendrick ter

(Northampton, MA, Smith Coll. Mus. A.), with its Richartz Mus.), also include exceptionally sensi-
close investigation of artificial light effects, show tive investigations of still-life elements. Their
that ter Brugghen was still influenced by early paint surfaces are also more complex, due to the

16th-century Netherlandish sources, such as Lucas use of increasingly loose and fluid brushstrokes,
van Leyden's prints and early Leiden school paint- which frequently overlay more studied and care-

ing, without resorting to the more obvious stylis- fully applied areas as, for example, in Melancholy
tic archaisms found in his work before 1621. and The Singer, suggesting that ter Brugghen's
In stark contrast to the various late candlelit premature death, at the age of only 41, may have
depictions is another group of late paintings, also cut short the most innovative stage of his artistic
from 1627 onwards, such as the Allegory of Taste development.
(1627; Malibu, CA, Getty Mus.), which introduce a

renewed interest in cool, bright daylight. Although 2. Working methods and technique
the colour is in some ways indebted to early works The recurrence of figures, poses, facial types and
such as The Flute-player pendants, it also benefits motifs in works dated four and five years apart
from the master's ongoing investigation of artifi- would seem to indicate that drawings played an
cially lit surfaces and forms. As ter Brugghen important role in the artist's working procedures.
approached the age of 40, he entered a new and A good example of such a repetition is the figure
more mature phase of his development, which of the angel that appeared first in the Liberation
features the cool and pale flesh tones seen in the of St Peter of 1624. Ter Brugghen later used a
Allegory of Taste and in The Singer (1628; Basle, closely related, though full-length figure of the
Kstmus.). Interestingly, it is this lesser-known late angel for two other paintings, both dated 1629:
phase of his activity as a painter that seems to antic- the Annunciation (Diest) and an expressively com-
ipate aspects of Vermeer's style even more than the posed second version of the Liberation of St Peter
better-known works of c. 1621 usually cited. (Schwerin, Staatl. Mus.). Furthermore, a similar,
During 1628 this new phase manifests itself in half-length angel also appears in the much
the use of bright, but subtle colour harmonies in, repeated King David with Angels (1628; Warsaw,
for example, the signed and dated Lute-player . nd N. Mus.), which includes a facial type for King
Singing Girl (1628; Paris, Louvre; see col. pi. VIII), David that resembles that of St Peter from the
as well as in the pendants of ancient philosophers, picture of 1624.
the Laughing Demochtus and the Weeping Unfortunately, only three drawings by ter
Heraclitus (both 1628; Amsterdam, Rijksmus.). The Brugghen have survived, all of which are complete
Demochtus especially, with its beautifully ren- compositions (e.g. Laughing Demochtus, Rouen,
dered cool yellow highlights on the velveteen Mus. B.-A.) rather than studies for individual
drapery, reflects the new and innovative direction figures or heads. Nevertheless, the pattern of rep-
of the master's formal and colouristic interests etition in his paintings does seem to support a
during this late stage in his career. method of working similar to that utilized by his
During the last two years of ter Brugghen's life, teacher, Abraham Bloemaert. Thus, despite the
with works such as the Annunciation (1629; Diest, obviously Caravaggesque components of his style,
Stedel. Mus.), the artist continuously experi- ter Brugghen's working method appears to be
mented with increasingly rich and varied paint rooted in Utrecht Late Mannerist workshop pro-
surfaces, complex arrangements of drapery folds, cedures more than that of either the younger van
the growing use of richly patterned oriental rugs Baburen or van Honthorst, despite the fact that

and fabrics and an unusually subtle study of the the latter had also been a student of Bloemaert.
movement of light across form— all qualities later
present in the works of Vermeer. Several of ter Bibliography
Brugghen's late works, for example the painting J. von Sandrart: Teutsche Academie I1675-9I: ed. A. R.

of Jacob, Laban and Leah (Cologne, Wallraf- Peltzer I1925), pp. 178, 401
Buytewech, Willem 67

C. de Bie: Den Spiegel van der verdrayde werelt (Antwerp, Buytewech, Willem (Pietersz.)
1708) (b Rotterdam, 1591-2; d Rotterdam, 23 Sept 1624).
J. J. Dodt van Fljensburg]: 'Heyndrick ter Brugghen', Ber. Dutch painter, draughtsman and etcher. Although
Hist. Gez. Utrecht, (1846), pp. 129-36
he was born and died in Rotterdam, stylistically
M. E. Houch: 'Hendrick Ter Brugghen en zijn Vier
he belongs to the generation of young artists
Evengelisten te Deventer', Eigen Haard, 32 (1900),
working in Haarlem at the beginning of the 17th
pp. 519-23
century. He was nicknamed 'Geestige Willem'
H. Voss: 'Vermeer van Delft und die Utrechter Schule',
(Dut.: 'inventive, or witty. Willem') by his con-
Mhft. Kstwiss., v (1912), pp. 79-83
C. H. Collins Baker: 'Hendrik Terbrugghen and Plein Air',
temporaries, and during his short career he made
Burl. Mag., 1 (1927), pp. 196-202
an important and highly personal contribution to
R. Longhi: 'Ter Brugghen e la Parte Nostra', Vita Artistica, the new approach to realism in Dutch art. He was
ii (1927). pp. 105-16 one of the first to paint interiors with merry com-
A. von Schneider: 'Entlehnungen Hendrick Ter-Brugghen panies and is primarily known for his lively and
aus dem Werk Caravaggios', Oud-Holland, xliv (1927), spontaneous drawings and etchings on a wide
pp. 261-9 range of subjects.
W. Stechow: 'Zu zwei Bildern des Henrick Terbrugghen',
Oud-Holland, xlv (1928), pp. 277-81
1. Life and work
A. von Schneider: Caravaggio und die Niederlander
The name Buytewech may derive from
(Marburg, 1933)
(Buiten)achterweg ('outer back road'), where
G. Isarlo: Caravage et le caravagisme europeen (Aix-en-
Willem's father, the cobbler Pieter Jacobsz.. was
Provence, 1941)
Caravaggio en de Nederlanden (exh. cat., Utrecht, Cent.
living on 3 February 1591 when he married Jutgen
Mus.; Antwerp, Kon. Mus. S. Kst.; 1952); review by H.
Willemsdr. Buytewech's earliest work, a signed
W. Gerson in Kunstchronik, v (1952), pp. 287-93; and engraving of the Flute-player (1606), carries an
by B. Nicolson in Burl. Mag., xciv (1952), pp. 247-52 inscription that connects it with an inn jnsl
B. Nicolson: Hendrick Terbrugghen (The Hague, 1958) outside Rotterdam. In style it shows the influence
— : 'Second Thoughts about Terbrugghen', Burl. Mag., cii
of the previous generation of Dutch printmakers
(i960), pp. 465-73 (Crispijn van de Passe I and Hendrick Goltzius,
Hendrick Terbrugghen in America (exh. cat. by L. J.
possibly through the work ol Jacob Mat ham 1.

Slatkes, Dayton, OH, A. Inst.; Baltimore, MD, Mus. A.;

Buytewech is next mentioned in 1612 when, with
Esaias van de Yelde lil And Hen tiles Segers, In-
B. Nicolson: 'Terbrugghen since i960'. Album amicorum J.
entered the Haarlem Guild ol St I tike. I wo yean
G. van Gelder (The Hague, 1973), pp. 237-41
— : The International Caravaggesque Movement (Oxford,
later the engraver Jan ll van de Wide (i) also
became a member. Buytewech remained in dose
1979); review by L. J. Slatkes in Simiolus, xii (1981-82).

pp. 167-83
contact with him for the rest Ol his life, even alter
M. J. Bok and Y. Kobayashi: 'New Data on Hendrick ter returning to Rotterdam in 1617.

Brugghen', Hoogsteder-Naumann Mercury, i (1985L On 16 September 1624, in his early thirties,

PP- 7-34 Buytewech— 'sick in body* drew up Ins will He

C. Schuckman: 'Did Hendrick ter Brugghen Revisit Italy' died a week later and was buried in Rotterdam*i
Notes from an Unknown Manuscript by Cornelis de
Grote Kerk. Alter his death his wite. Aaltje
Bie', Hoogsteder-Naumann Mercury, iv (1986),
whom he had married
[acobsdr van Amerongen,
pp. 7-22
in Haarlem in ifi birth to Willem
Holliindische Malerei in neuem Licht: Hendrick ter
Willemsz. Buytewech 1/' Rotterdam, bapi 4 |an
Brugghen und seine Zeitgenossen (exh. cat. by A.
bur Rotterdam, between so and 16 April
Blankert. L.J. Slatkes and others; Utrecht. Cent Mus .

Brunswick, Herzog Anton Ulrich-Mus.; 1986-7);

1670). who also became an artist Six landscape

Kstchromk. paintings, mostly on panel (London, \(.i. and

review by B. Schnackenburg in xl (1987).

pp. 169-77 at least one drawing [Goats in .1 landscape,

LEONARD SLATKES Vienna, Albertina) by him are known His

68 Buytewech, Willem

speciality was Christmas nocturnes with animals spot (Berlin, Kupferstichkab.). The same sketchy
(Karsnagten en beesjes), according to the painters manner of drawing recurs in the Anatomy
index (1669-78) made by the Amsterdam city Demonstration at Leiden (Rotterdam, Boymans-
doctor Jan Sysmus (A. Bredius: 'Het schildersreg- van Beuningen). Two drawings representing a Fool
ister van Jan Sysmus, stads doctor van with Herrings and Sausages round his Neck (both
Amsterdam', Oud-Holland, viii (1890), pp. 1-8; xiii Paris, Fond Custodia, Inst. Neer.) show familiarity

(1895), p. 113), such as the Annunciation to the with the work of Frans Hals, as the figure in
Shepherds (1664; untraced, see Naumann, fig. 5), these drawings was taken from Hals's painting
which is in the style of Benjamin Gerritsz. Cuyp. Shrovetide Revellers (c. 1615; New York, Met.).
His landscapes show the influence of Jan Asselijn Besides the many sketches showing groups
and Jan Wijnants (e.g. Dune Landscape, London, of women and children there are a number of
N.G.), under whose names many may still be precise, detailed drawings intended for prints.
known. Most of these date from Buytewech's period in
Rotterdam when he had, apparently, given up
(i) Drawings. Buytewech's highly praised versatility making etchings. Among them is a series of
emerges not only from his use of different tech- designs for regional costumes, first engraved in
niques but also from his great range of subjects, Haarlem by Gillis van Scheyndel. A carefully
especially in his drawings: religious and historical worked-out scene of an Interior with Dancing
scenes, figures, interiors, scenes of everyday life, Couples and Musicians (Paris, Fond Custodia, Inst.

allegories, groups, architectural features, land- Neer.) served as a preparatory drawing for Cornells

scapes, designs for book illustrations etc. Only a Koning (fl 1608-33), another engraver and pub-
few works are dated, making it difficult to estab- lisher working in Haarlem. Buytewech also pro-
lish a chronological and stylistic development, vided designs for the title-pages of two books,
especially as they were produced over such a short Johan Baptist Houwaert's Den handel der
period. Thus his oeuvre is usually treated themat- amoureusheyt ('Amorous trade'; Rotterdam, 1621)
ically. The c. 125 drawings attributed to him and Alle de spelen (The complete plays') by G. A.
include religious scenes with striking contrasts of Bredero (Rotterdam, 1622). Both were engraved by
light and dark (e.g. the Holy Family, Amsterdam, Jan van de Velde. Apart from engraving a number
Rijksmus.). His sketches of fashionably dressed of biblical or religious subjects after designs by
dandies and young women, some of which often Buytewech, van de Velde was also responsible for
seem almost grotesque (e.g. the Standing Man; two series representing the Four Elements. Two of
Hamburg, Ksthalle; Haverkamp-Begemann, 1959, the designs for these series survive; one of them,
no. 53), are executed with great freedom, giving the Vinkebaan (shooting and trapping range for
the impression of drawings from life. The same small birds; Rotterdam, Boymans-van Beuningen),
can be said of the Sleeping Woman (Paris, Fond symbolizes Air. The figures are set in a landscape
Custodia, Inst. Neer.), a subject rarely depicted at similar to that found near Haarlem. The drawing
that time. The carefully executed Interior with a belongs to a small group in which the subject
Family by the Fire (1617; Hamburg, Ksthalle) forms a remarkable unity with the landscape.
also seems to represent an actual scene but was A different impression is created by a pair of
based on a much sketchier drawing (Berlin, drawings depicting a wooded landscape by a
Kupferstichkab.). The many corrections (done by lake (both London, BM), which are regarded as

means of overlaid pieces of paper) and altered Buytewech's earliest known landscapes. In these,
details demonstrate the contrived nature of the the influence of Adam Elsheimer (undoubtedly
final version. By contrast, Buytewech's drawing of transmitted through the engravings of Hendrick
the scene when sperm whale was stranded
; Goudt) is unmistakable. But the drawing of
on the beach between Scheveningen and Katwijk the trees, with their cauliflower-like crowns and
in January 1617 must have been done on the twisted branches, is a distinctive and highly
Buytewech, Willem 69

personal feature of Buytewech's landscapes, in regarded by contemporaries as bad omens or

which the presence of human beings is entirely punishment for sin; but Buytewech's purpose
subordinated to the scenery (further examples, would seem to have been mainly documentary.
U. London, Courtauld Inst. Gals, Cambridge, In the print of 1614 are the same elegantly dressed
Fitzwilliam, and Washington, DC, N.G.A.). Figures figures as in the series of Seven Noblemen
are omitted altogether in some drawings of build- (Hollstein, nos 21-7), which represents young
ings or landscape, for example Landscape with a noblemen of seven nationalities. These are
Row of Trees (Berlin, Altes Mus.). In total contrast Buytewech's most personal etchings. The lively

are the sketchy drawings of easily recogniz- manner in which the modish figures are depicted
able motifs in a more spacious setting (e.g. was unmatched in his time.

View of Scheveningen; Rotterdam, Boymans-van

Beuningen). (iii) Paintings. Figures are also the subjects of all of
Buytewech's paintings. His oeuvre is present lv
(ii) Etchings. Buytewech's most original contribution thought to comprise ten paintings, previously
to Dutch landscape imagery is his series of ten attributed to Frans or Dirck Hals. They are neither
etchings (including the title-page) of Various Little signed nor dated, but the costumes and stylistic
Landscapes (c. 1616; Hollstein, nos 35-44). Made parallels with his graphic work suggest that they
immediately after those of Esaias and Jan van de were painted in the last years of his life, between
Velde (1612 and 1615), it exemplifies his new and 1616 and 1624. Although he borrowed subjects
highly personal interpretation of the landscape. from Frans Hals (as in his Merry Company in the

Three of the nine sheets show a ruin; in the Open Air, c. 1616-17; Berlin, priv. col., on loan to

remaining six, trees are the main motif, their Berlin, Gemaldegal.), he developed a genre of his

twisted trunks rhythmically rendered and their own in four depictions of merry companies in inte-

branches fanning out at the top. riors. In three of these paintings, fashionably
In all, 32 prints by Buytewech are known. They dressed young men and women are set in a room,
were presumably made in Haarlem between 1612 the main motif of which is a map on the back wall
and 1617 and are almost all pure etchings. Three (Rotterdam, Boymans-van Beuningen; tie Hague, I

prints with religious subjects are included among Mus. Bredius; Budapest, Mus. 1 A .1. I he activities
the early works; two of these, Cain and Abel portrayed, such as smoking, drinking and card
(Hollstein, no. 1) and St Francis (Hollstein, no. 9), playing, symbolized worldly pleasure, giving these
are copies after, respectively, Peter Paul Rubens pictures a moralizing message. Erotic .illusions

and John Matham. Two of the three etchings such as rosebuds, a fountain aiul .1 cobweb occur
of Bathsheba (c. 1615-16; Hollstein, nos 2-4) in the Formal Courtship (c. 1616 17; Amsterdam,
also demonstrate Buytewech's familiarity with Rijksmus.). A striking feature is the balanced,
Rubens's work. As with the drawings of biblical almost classical composition m which the exag-
subjects, these prints show strong contrasts of geratedly stylish figures are represented, in

lighting, particularly evident in the dramatic- contrast to the apparent freedom with which he

image of Bathsheba Reading David's Letter (c. drew figures and their settings, Ins paintings are

1616; Hollstein, no. 4). A comparable dynamic obviously contrived. Ihe stilt appearance ot the

treatment can be found in Lucelle and Ascagnes figures, which often seem lame for the space,

(Hollstein, no. 17), which was intended as an illus- suggests that he used lay figures
tration for Bredero's translation (1616) of Francois-
Louis Le Jars's play Lucelle (Paris, 1576). In both 2. Working methods and technique

theme is that of vanitas. The

prints the underlying The majority ol Willem Buytewech's drawings are
etchings of stranded sperm whales (1614. 1617: executed in pen and ink. ihe religious scenes have
Hollstein, nos 14, 13) have also been given a mor- Strong lines and broadly washed areas m gradu-

alizing interpretation, since the incidents were ated tones. Ten sketches, apparently drawn from
70 Buytewech, Willem

life, are often reworked with a fine brush. The Jan Lievens, who made drawings in 1618 after
designs for his prints are carefully executed com- 'prints of Geestighe Willem', the next reference is

positions in pen and brush, often in combination by Houbraken (1719), who described him as a

with black chalk, a medium he sometimes used painter of 'companies of young ladies, gentlemen
on its own, for example in the Surgeon and the and peasants'. After this the artist and his work
Bleeding (both 1616; Haarlem, Teylers Mus.). He seem to have been forgotten. His paintings were
used red chalk only occasionally. The group of attributed to other artists, while his drawings and
landscape drawings without figures shows highly prints were dispersed in various collections. The
original handling: small loops and circles drawn 'rediscovery' of Buytewech at the beginning of the
with a pen to represent foliage, as found in 20th century led to various publications (e.g.

Hercules Segers's etchings. Goldschmidt, Martin and the catalogue raisonne

Buytewech's own etchings, which were initially of the etchings by van Gelder). Haverkamp-
executed with a mixed technique, display an Begemann's catalogue of the complete works
exceptionally supple line. With Esaias van de Velde (1959) is now regarded as the standard reference

he was one of the first to use the etching needle work on 'Geestige Willem'.
alone, in a manner not suggestive of the burin.
His use of pointille next to heavy shadows and the Bibliography

combination of swelling lines and short, sharp Hollstein: Dut. & Flem.. iv, pp. 53-77

hooks, lend great variety. J. Orlers: Beschrijvinge der stadt Leyden . . . (Leiden, 1641),

Buytewech's paintings on canvas show a P- 376

A. Houbraken: De groote schouburgh (1718-21), ii,
remarkably thin use of paint, and the colours are
p. 90
clearly separated from each other. In comparison
A. Goldschmidt: 'Willem Buytewech', Jb. Kon.-Preuss.
with Dirck Hals, his painting technique is crisper,
Kstsamml., xxiii (1902), pp. 100-17
and his figures look rather linear. His paintings
W. Martin: 'Hoe schilderde Willem Buytewech', Oud-
lack the lively highlights so characteristic of Holland, xxxiv (1916), pp. 197-203
Hals's work. I.. Burchard: Die hollandischen Radierer vor Rembrandt
(Berlin, 1917), pp. 52-9
3. Critical reception and posthumous reputation G. Poensgen: 'Beitrage zur Kunst des Willem Buytewech',
From an early date Buytewech's drawings and etch- Jb. Kon.-Preuss. Kstsamml., xlvii (1926), pp. 87-102
G. Knuttel Wzn: 'Willem Buytewech". Meded. Dienst
ings and the prints made after his work were
Kst & Wetsch. Gemeente 's-Gravenhage, iv (1928),
regarded as collectors' items. They are mentioned
pp. 116-24
in Rembrandt's estate inventory of 1656
[book) full of prints by Frans Floris, Buijtewech,
('A ditto
— : 'Willem Buytewech: Van manierisme tot naturalisme',

Meded. Dienst Kst & Wetsch. Gemeente 's-Gravenhage,

Goltseus, and Abraham Bloemer') and Jan van de v-vi (1928), pp. 181-98
Capelle's inventory of 1680 ('A ditto (portfolio) G. van Gelder: 'De etsen van Willem Buytewech'. Oud-

with 86 drawings by Willem Buijtewech' and 'a Holland, xlviii (1931). pp. 49-72
ditto [portfolio] with 161 sketches by Buijtewech E. Haverkamp-Begemann: Willem Buytewech (Amsterdam,
and Gout'). The auction (14 May 1736) of the 1959)

Samuel van Huls (1655-1734), burgo-

collection of J. S. Kunstreich: Der geistreiche Willem: Studien zur

master of The Hague, included no less than 120 Willem Buytewech, 1591-1624 (Cologne, 1959)
E. Haverkamp-Begemann: 'The Etchings of Willem
drawings by 'Geestige Willem'. The Delft collector
Buytewech', Prints, ed. C. Zigrosser (New York, 1962),
Valerius Rover found the Interior with a Family by
pp. 55-8i
the Fire 'so far removed ('buiten de weg^ from the
Willem Buytewech, 1591-1624 (exh. cat. by J. Giltay and
usual manner of drawing that I cannot think of others; intro. E. Haverkamp-Begemann; Rotterdam,
anything like it'.
Boymans-van Beuningen; Paris. Inst. Neer., i974~5)

Little is said about Buytewech in early art-his- [excellent plates of almost all the graphic work by and
torical literature. Apart from Orlers's account of after Buytewech]
Cappelle, Jan van de ~i

O. Naumann: 'Willem Buytewech the Younger', Essays in close in concept to Cuyp's work and must
Northern Art Presented to Egbert Haverkamp- have been meant as imitations. His paintings of
Begemann, ed. A. II Logan (Doornspijk. 1983), stable interiors (e.g. 1851: London, N.G.) are
pp. 194-8 strongly indebted to Wouwerman. A Battle Scene
J. A. Welu: "The Maps of Willem Buytewech'. Hoogsteder-
(Amsterdam, Rijksmus.) is of a more independent
Naumann Mercury, v (1987), pp. 21-8
impulse, although still based ultimately on Cuyp.
Dawn of the Golden Age (exh. cat., ed. G. Luijten and
Van Calraet showed greater willingness than Cuyp
others; Amsterdam. Rijksmus.. 1993-4)
to tackle figural subjects, as in his Christ Entering
Jerusalem (Glasgow. C.A.G.). Most original and
striking among van Calraet's paintings are his del-
icate, deeply shadowed still-lifes. usually showing
Calraet [Kalraet], Abraham (Pietersz.) van fruit on a table, with brilliantly coloured butter-
{bapt Dordrecht, 12 Oct 1642; bur Dordrecht, 12 flies (e.g. Otterlo. Rijksmus. Krbller-Muller).

June 1722). Dutch painter. He was the eldest son Although these are widely believed to have been
of Pieter Jansz. van Calraet (c. 1620-81). a sculptor derived from Cuyp's work, in fact no securely
from Utrecht. According to Houbraken, Abraham attributable still-life by Cuyp has been located.
was taught by the Dordrecht sculptors Aemilius Van Calraet married Anna, daughter of the
and Samuel Huppe, although nothing is known of Dordrecht painter Cornelis Bisschop. on 30 June
his activity as a sculptor. Houbraken also stated 1680.
that Abraham learnt to paint figures and fruit and
that his brother Barent van Calraet (1649-1737), Bibliography

who specialized at first in horse paintings but Thieme-Becker

A. Houbraken: De groote schouburgh 11718-211. 111.
later imitated the Rhine landscapes of Herman
pp. 181. 292
Saftleven, was a pupil of Aelbert Cuyp (see Cuyp,
G. H. Yeth: Aanteekeningen omtrent eenige.
(3)). The known signed works by Barent confirm
Dordrechtsche schilders: Barent van Kalraet'. Oud-
this. A painting of two horses in a stable, initialled
Holland. vii 11889). PP 304-5
apk (Rotterdam, Mus. Boymans-van Beuningen), A. Bredius: Der Stillebenmaler Abraham ivanl Calraet'.
indicates that Abraham, too, must have been well Kunstchronik. xxv I1914I. pp 93"4
acquainted with Cuyp and provides the basis for — : Kunstler-Inventare. i (The Hague. 1915). PP *

identifying Abraham's painting style. A large num- — : "The Still-life Painter Abraham Calraet'. Bur!

ber of landscapes with horses, paintings of live- \\\ (1917). PP- 172-9

stock in stables and still-lifes, all initialled a.c. and F. Schmidt-Degener: Kalraet in Boymans . Oude ^
I1918-19). pp- 285-91
formerly attributed to Aelbert Cuyp, are now gen-
J. L. van Dalen: 'De familie van Calraet'. Oud-Holland. xln
erally considered to be the work of van Calraet,
although many of these are in fact copies after him.
J. G. van Gekh tt niet Cm
In van Calraet's studio were several paintings
Rijks bureau Ksthh
by Cuyp and after him, as well as copies after L. J. Bol: Goede onbekenden. 11 iThe H
Philips Wouwerman, Jan Both and other landscape credit 19821. pp 1 :

artists. Van Calraet himself often painted cattle De zichtbaati Dordrecht. Donfa

and horses (e.g. Horse with a Saddle l\ 19921. pp IO<

it, London, N.G.) or Horses before an Inn (St ALAN i

Petersburg, Hermitage). Closely related to Cuyp's

work, van Calraet's handling is nonetheless
smoother, broader and more monochromatic. To Cappelle, Jan van de
some extent, the oeuvres of the two artists remain (bapt Amsterdam, 15 Jan 1626; bur Amsterdam, 22
confused. Some works by van Calraet. such as the Dec 1679I. Dutch businessman, collector, painter,
River Landscape (London, N.G., 53. as Cuyp). are draughtsman and etcher Though now considered
72 Cappelle, Jan van de

the outstanding marine painter of 17th-century collection for his own study purposes, but most of
Holland, he was not a professional artist nor a the items were acquired long after he had devel-
member of the Amsterdam Guild of St Luke. oped his own style. The quality of the works shows
His father owned a successful dye-works in the taste and discrimination of a true collector
Amsterdam, in which both Jan and his brother and patron.
Louis were active. Their father enjoyed a long life

and probably managed the firm until close to his 2. Paintings

death in 1674, when Jan inherited it. This left Jan Van de Cappelle was a prodigy, whose own dated
with plenty of spare time to pursue his hobby, pictures range from as early as 1644 Winter Scene; (

painting. He married Annetje Jansdr. (Anna untraced) to 1663. In 1654 Gerbrand van den
Grotingh) before 1653. He died a widower, survived Eeckhout, Rembrandt's pupil and friend, wrote a
by his seven children, who inherited his consid- quatrain in the album amicorum of the humanist
erable fortune. His last will shows that in addition Jacob Heyblocq, praising the 'art of Johannes van
to the dye-works and immense cash assets, van de de Cappelle who taught himself to paint out of his
Cappelle owned extensive properties and an art own desire'. This confirms that van de Cappelle
collection that must be rated among the most was self-taught, but the quality of his paintings

important of his time. suggests that he must have practised rigorously

Apart from his involvement with the arts, Jan from an early age, seeking advice and guidance
shared his countrymen's love of ships and sailing. from established marine painters in Amsterdam.

He owned a pleasure yacht, moored in the 'oude A Simon de Vlieger in his

close relationship with
yacht haven', which must have taken him on many formative years seems certain, but Willem van de
trips along the Dutch coast and rivers, giving him Velde the elder, who shared van de Cappelle's
an opportunity to sketch and draw from nature. enthusiasm for shipping, also seems to have
played a part in his development. Van de
1. Art collection Cappelle's oeuvre is small: fewer than 150 paint-
The inventory of the collection, dated 1680, lists ings are known, most of which are marine scenes,
200 paintings and more than 7000 drawings by a with a small proportion treating the subject of
wide range of The drawings included 798
artists. winter landscape. He greatly influenced the
by the artist's own hand (mostly untraced), 900 by marine painters of his generation, particularly
Hendrick Avercamp, 300 by Esaias van de Velde, Hendrick Dubbels and Willem van de Velde II. His
400 by van Goyen and a few by Willem van de Velde winter landscapes were copied and emulated by
the elder. By far the largest number of drawings, Jan van Kessel and others.
1300, was by Simon de Vlieger, probably acquired
after the artist's death in 1653. There were no (i) Marine subjects. Van de Cappelle's early picture of
less than 500 drawings by Rembrandt, most of Shipping in a Calm (1645; England, D. Robarts priv.

them acquired at the artist's insolvency sale in col.) is a fully fledged masterpiece by an artist not
1658; they included nearly 300 (almost all) of yet 20, pioneering a new approach to Marine paint-
Rembrandt's landscape sketches. Among the paint- ing. While sharing the new luminosity of sky and
ings were portraits of van de Cappelle and his wife water of de Vlieger's beach scenes of the 1640s, it

by Rembrandt, Frans Hals, Gerbrandt van den introduces a novel compositional system, with a
Eeckhout and Jan van Noort (all untraced). There group of large ships set close to the picture plane
were in total seven paintings by Rembrandt, five and the diminishing forms of other ships leading
by Hercules Segers and three by Rubens, as well in strict linear perspective towards the far hori-
as a copy by van de Cappelle after a painting by zon. This perspective device lends great depth to
de Vlieger and another after Jan Porcellis, whose the picture space and is not seen in de Vlieger's
autograph work was represented by sixteen exam- paintings before 1649. However, a signed and dated
ples. Van de Cappelle may have used works in the sheet of perspective studies by de Vlieger (1645;
Cappelle, Jan van de 73

London, BM) indicates that he was also experi- all-pervading luminous atmosphere that softens
menting with ship perspective in the very year that all outlines and unifies forms and local colours.
van de Cappelle painted his picture. It seems that Linear perspective in the formation of ships and
the young student translated into paint the older boats is complemented by the masterly treatment
master's theoretical studies. Experiments based on of aerial perspective. The saturation of colours is

new optical discoveries were probably, in fact, car- reduced, while the brightness of light is increased
ried out jointly by de Vlieger and van de Cappelle. towards the horizon. The intensity of light just
One of Jan's rare beach scenes (1651) seems to echo above the horizon line suggests the infinite con-
de Vlieger's earlier Beach (1643; both The Hague, tinuity of space. More than any other artist of his

Mauritshuis). However, van de Cappelle's painting time, with the exception only of Rembrandt, van
transcends those of the older master by introduc- de Cappelle was a painter of light.

ing new subtleties in the treatment of light and Van de Cappelle's earlier works recall the cool

reflections. This new fascination with light effects silvery hues of de Vlieger, but carefully controlled
culminated in van de Cappelle's masterpiece, A local colours in costumes, sails and coastal motifs,
Calm (Cologne, Wallraf-Richartz-Mus.), in which together with the rainbow tints of clouds and the
the cool radiance of a rising sun over the water, fiery red of smoke billowing from gun salutes,
accentuated by the single figure of a fisherman combine to enliven the uniform greyness preva-
and two groups of small boats, is the dominating lent in marines of the so-called 'tonal school' of
motif in a deceptively simple composition. painting in Haarlem. In his later works van de
In the late 1640s and the early 1650s van de Cappelle used a warmer golden tonality, excep-

Cappelle perfected the type of marine painting tionally allowing himself a greater colouristic exu-
first represented in the picture of 1645, which is berance when setting the rosy glow of a sunset skv
known as a 'parade' (i.e. a formal gathering of against water of a deep turquoise blue, as in the
ships for a ceremonial occasion). He was clearly River Scene with Sailing Vessels Rotterdam. Mus. 1

interested in the pictorial effects of ships Boymans-van Beuningen). This must be a late
anchored in smooth water, their hulls and sails work, influenced by the sunsets of Salomon van
bathed in sparkling light and echoed in the lumi- Ruysdael's late paintings.
nous, faintly broken reflections underneath the The majority of van de Cappelle's marine paint-

surface. The geometric precision of the ships' ings feature ships or boats seen from an e\;
alignment and the architectural clarity of their of calm water. The view is flanked unobtrusiveh
forms lend firm structure to a composition largely on one or both sides by a jetty, a narrow promon-
depending on vaporous skies filled with billowing tory or strip of beach with boats at anchor and
clouds over a very low horizon. The contrast of fishermen at work. Onlv a handful oi w\n de
rigid masts and hulls with the fluidity of light, Cappelle's known works are scenes with rougtJ

reflections and atmosphere is epitomized in such water (e.g. The Beach: The Hague, Vaunts':
'parades' as the River Scene with a State Barge and none shows ,i storm at sea I'he painting of a

(1650; London, N.G.) and the State Barge Saluted 'Storm by the deceased' mentioned in the artists

by the Home Fleet (1650; Amsterdam, Rijksmus.). inventory after his death has never been found.
The 'parade' boats are filled with elegantly dressed
people. Their costumes provide touches of local (ii) Winter scenes, Fewer than zo hilly authenticated

colour, but the figures are always carefully inte- winter scenes bv van de ( appelle are known; these

grated into the overall composition. range in date from 11 •

: (the Winter Scene
Other paintings feature small craft and more of 1644 being untraced) He derived his mot its

humbly dressed fishermen at work or passenger and compositional winter landscapes

barges peacefully drifting along the banks of a from earlier Dutch masters, notablv Hendnck
river (e.g. River View with Boats, 1651; Zurich. amp Isaac van Ostade and Bsaias van de
Ksthaus). These paintings are distinguished by an Wide His winter scenes haw manv affinities with
74 Cappelle, Jan van de

those of Aert van der Neer, but they are more aus- amicorum, which is accompanied by van den
tere. Only a few figures of skaters or players of kolf Eeckhout's rhyme. The same album contains one
(a simple type of ice hockey) appear on the frozen of the more crowded and animated winter scenes
canals or rivers, and they are incidental to the by Aert van der Neer, contrasting with the serene
study of nature. The silvery sparkle of a winter sky, calm of van de Cappelle's composition. (More fin-

often mingled with the rosy hues of a sunset, is ished drawings are in Paris, Fond. Custodia, Inst.
integrated with the reflecting surface of an Neer., and Haarlem, Teylers Mus.) A late drawing
expanse of frozen water. Light bounces off the 11662; Berlin, Kupferstichkab.), though still

snow-covered branches of bare trees, their dimin- impressive in the treatment of light and reflec-
ishing forms leading the eye towards the far hori- tions, is less delicate. Two other drawings of
zon in a perspective formation that resembles the winter scenes (both Hamburg, Ksthalle) must
rows of ships in the 'parade' pictures. Figures are also be late; they lack the compositional harmony
arranged in depth strictly according to the rules of the 'golden' period, which culminated in the
demonstrated in de Vlieger's sheet of perspective 1650s.
studies (other masterpieces of this type of winter Only two etchings signed by van de Cappelle
landscape are in Amsterdam, Rijksmus., and are known. One is of a Wide River with Fishing
Madrid, Mus. Thyssen-Bornemisza.) Two winter Boats (Hollstein, no. i(, signed in reverse /. V.

landscapes in upright format— Frozen Canal Capel. The form of signature and manner of exe-
(Enschede, Rijksmus. Twenthe) and Winter cution confirm a date before 1650. The Winter
Landscape (England, priv. col., see Russell, fig. 30)— Landscape with a Stone Bridge (Hollstein, no. 2)

are pure studies of nature, eliminating the genre must date from the 1650s. The composition is

element of skating figures; they seem to belong to derived from Rembrandt's painting of a Landscape
a later period, probably the late 1650s and early near Ouderkerk (Amsterdam, Rijksmus.). A third
1660s. etching, also a winter scene (Hollstein, no. 3).

seems to be by a follower. The eight etchings of

3. Drawings and prints pure landscapes attributed to van de Cappelle
Most of the artist's drawings listed in the 1680 (Hollstein, nos 4-11) and variously carrying the
inventory have been lost, and signed and dated signatures of Jan van Goyen and Jacob Esselens are
examples are extremely rare; only one of uncharacteristic of the artist's style and are not
them, the Barge with Soldiers (16(4)6; Berlin, accepted by Stechow and other experts.
Kupferstichkab.), is a marine scene. This close-up
study of a boat and figures demonstrates van de Bibliography
Cappelle's skill in rendering figures in convincing Hollstein: Dut. & Flem.
poses, with only a few delicate strokes of the pen. A. Bredius: "De schilder Johannes van de Cappelle".
Subtle washes add the effects of atmosphere and Oud-Holland. x 18921. pp. 26-40. 133-6

diffused light. Even more atmospheric is the C. Hofstede de Groot: Hollandischen Staler, vii 11918)

unsigned Ferry Boat with Travellers and Three W. Stechow: Dutch Landscape Painting in the Seventeenth
Century (London. 19681. pp. 95-8. 106-8
Horses (Hamburg, Ksthalle), which is a preparatory
M. Russell: Jan van de Cappelle. 1624 6-1679
drawing for the painted Marine (Antwerp, Kon.
iLeigh-on-Sea, 1975) [with full bibliog.. docs & complete
Mus. S. Kst.). Its careful execution implies that the
cat. rais. by Hofstede de Groot. with revisions and
artist worked painstakingly and slowly on even the
simplest motifs to arrive at the mastery of his fin-
Mirror of Empire: Dutch Marine .Art of the Seventeenth
ished paintings. Cenrurv iexh. cat. by G. S. Keyes. Minneapolis. IfN,
Drawings of winter scenes are relatively more Inst. A.; Toledo. OH. Mus. A.: Los Angeles. CA. Co. Mus.
frequent. Of particular interest is the sketch of a A.: 1990-911. nos 10-12

frozen river with kolf players in Heyblocq's album MARGARITA RUSSELL

Claesz, Pieter 75

Claesz, Pieter the fanning diagonals in the Still-life with Smoking

{b Burgsteinfurt, Westphalia, c. 1597; d Haarlem, Implements (1638; priv. col., see Vroom, i, figs 39,

1660). Dutch painter of German He appar-

birth. 156). His works of this period often resemble those
ently spent his entire career in Haarlem, where he of his Haarlem colleague Willem Claesz. Heda in
specialized in still-life paintings. Well over 100 subject-matter, composition and monochromatic
works survive, dating from 1621 to 1660. Most harmony, but Heda characteristically preferred
of his pictures are dated and monogrammed pc. cooler, more luminous effects captured with excep-
Since those initials were shared by the Antwerp tional refinement. Claesz's technique is sometimes
still-life painter Clara Peeters, several attributions meticulous, as in the Still-life with a Turkey 1'ic

are disputed. (1627; Amsterdam, Rijksmus.), and sometimes vig-

Claesz's depictions of modest objects arranged orously free, as in the Breakfast Piece with a Ham
on a table-top exemplify the development of (1643; Brussels, Mus. A. Anc). He often painted van-
Dutch still-life painting in the 17th century. Early itas still-lifes, with skulls, hourglasses and gutter-
in his career he was an outstanding exponent of ing flames that invite meditation on transience
the monochromatic still-life, which echoed the and death (example in The Hague, Mauritshuis).
'tonal' landscapes produced by contemporary His breakfast pieces probably also have loosely
Haarlem landscape painters. Claesz employed constructed symbolic programmes, with complex
colour schemes unified by a predominating meanings centred on the temptations of earthly
neutral tone, typically favouring warm browns, goods. For example, wine might suggest the
golds and olive greens, which he sparked with the Eucharist, but it also connoted pleasurable indul-
yellows and reds of fruits or contrasted with the gence and even drunkenness. Thus the viewer
cool greys of silver and pewter. He experimented could contemplate the relative merit of spiritual
with both daylight and candlelight, often causing and worldly values, an activity pertinent to

a shadow to fall diagonally on the background Calvinist-dominated Dutch mercantile SOCiet)

wall. Claesz's earliest known work, Still-life with In contrast to his earlier sober style a\m.\

a Stoneware Jug (1621; England, priv. col., see restrained palette, many of Claesz's late paintings

Bergstrom, fig. 100), is a 'breakfast piece' {ontbi- depict luxurious displays with bright colours and
jtje) in the manner of Haarlem still-life painters grand compositional rhythms. StilNife with ./

Nicolaes Gillis [fl 1601-32), Floris van Dijck and Basket of Grapes and a Crab (1651; untraced. see
Floris van Schooten. Bowls of fruits and berries, Vroom, i, fig. 30). in which Qaesz probably
wine and olives are arranged at regular intervals collaborated with Roelol KoetS (?1592 1655), is a

beside a jug on a white damask tablecloth, in a representative example.

compositional type that is usually termed 'addi- Claesz may have painted directly from life, or

tive'. Local colour is strong and the viewpoint he may have relied on memory, imagination or
high, so as to invite inspection of the deliberately drawings (though none survives) His compositions
placed objects, hardly any of which overlap. look plausible yet are sometimes dif¥i< nil to nw re-

Already, however, Claesz's distinctive character is ate with actual objects Me evidently used artistU
revealed in the unifying atmosphere, the con- licence, disguising the artifice ot his inventions

vincing illusionism and the sense of space created with verisimilitude, a common practice among
by the diagonal arrangement. Dutch The porcelain, glassware, metal-

The intimate grouping of fewer objects in a work and loods he depicted were ol the sort found
simple monumental design typifies Claesz's in the homes Ol the Hutch middle class, who in

mature or middle period. His remarkably simple turn purchased Claesz's paintings. Pieter Qaesz
compositions of the 1630s and 1640s are tightly seems not to have visc\l the surname Here hem
knit and ingeniously yet naturally constructed, adopted by his son. the landscape painter nkxm us
often around a dominating formal motif, such as Bf Kc HEM.
76 Claesz, Pieter

Bibliography common at the time. Codde's amorous companies

I. Bergstrom: Hollandskt stilleben maleri under 1600-talet are always richly clothed in gleaming silk. His
[Dutch still-life painting in the 17th century) palette is characterized by cool grey-brown tones,
(Goteborg, 1947; Eng. trans.. New York, 1956//? 1983) and he employed a fine, rather dry brush tech-
N. R. A. Vroom: A Modest Message as Intimated by the nique. He often reused the same compositions,
Painters of the 'monochrome banketje', 2 vols
placing his figures along a diagonal. One or two
(Schiedam, 1980)
figures are presented centrally, for instance a
S. Segal: A Prosperous Past: The Sumptuous Still Life in
dancing couple in the Dancing Party (1636; The
the Netherlands, 1600-1700, ed. W. B. Jordan (The
Hague, Mauritshuis), while the other men and
Hague, 1988)
ANNE W. LOWENTHAL women are grouped informally, their fashionable
clothing painted with the utmost attention to
detail. Similar subjects were painted by Willem
Duyster, who is probably incorrectly referred to as
Codde, Pieter Codde's only pupil.
(b Amsterdam, 11 Dec 1599; d Amsterdam, 12 Oct Among Codde's other portraits are the double
1678). Dutch painter and poet. Frans Hals was once Portrait of a Betrothed Couple (1634; The Hague,
thought to have been his teacher, but there is no Mauritshuis) and the group portrait of the Officers
evidence for this. It is possible that Codde studied of a Corps of the Crossbowmen's Company under
with a portrait painter, perhaps Barent van Capt. Reynier Reael and Lt Cornelis Michielsz.
Someren (1572/3-1632) or Cornelis van der Voort Blaeuw, a picture always known as the 'Meagre
(1576-1624), since most of his earliest works, from Company' (Amsterdam, Rijksmus). The latter was
the period 1623-7, seem to be portraits. His earli- begun in 1633 by Frans Hals and completed in 1637
estknown dated work is the Portrait of a Young by Codde, who obtained the commission as the
Man (1626; Oxford, Ashmolean), which precedes by result of disagreements between Hals and his
a year his earliest dated genre piece, the Dancing patrons. This was despite the fact that the style of
Lesson (1627; Paris, Louvre). He was particularly the two artists differed greatly, Hals having started
productive in the 1620s and 1630s, painting the work in rough, loose, agitated strokes, com-
mainly interior genre scenes. After the mid-i640s pletely unlike Codde's smooth, almost invisible
only portraits and a few history paintings, such as brushwork.
the Adoration of the Shepherds (1645; Amsterdam,
Rijksmus.), are known. It is not known how long Bibliography
he remained active as a painter. Thieme-Becker
Codde is best known as a painter of interiors W. Bode: Studien zur Geschichte der hollandischen
with numerous figures, often either elegant ladies Malerei (Brunswick, 1883), pp. 141-53
and gentlemen in merry or musical companies, C. M. Dozy: 'Pieter Codde. de schilder en de dichter', Oud-

in guardrooms. The
tric-trac players or soldiers Holland, ii (1884), pp. 34-67
theme of the Merry Company, in which he par- A. Bredius: 'lets over het leven van Pieter Codde en

ticularly specialized, became increasingly fash- Willem Duyster', Oud-Holland, vi (1888). pp. 187-94
F. Wiirtenberger: Das hollandische Gesellschaftsbild
ionable in the first half of the 17th century,
(Schwarzwald. 1937)
especially in Haarlem and Amsterdam. Such
P. Brandt jr: 'Notities over het leven en werk van den
images often had a significant double meaning,
Amsterdamschen schilder Pieter Codde". Historia
as is the case with Codde's Return of the Hunters
[Utrecht), xii (1947). PP- 27-37
(1635; priv. col., on loan to Amsterdam, Rijksmus.),
S. Beguin: 'lets over Pieter Codde en Jacob Duck', Oud-
in which there is an intentional play on the Dutch Holland, lxvii (1952), pp. 112-16
verb 'jagen\ which means to hunt and, colloqui- C. Bigler Playter: Willem Duyster en Pieter Codde: The
to make love. The comparison between the
ally, 'Duystere Werelt' of Dutch Genre Painting, ca.

hunt and the love-chase or love-making was very 1625-1635 (diss., Cambridge. MA, Harvard U., 1972)
Cornelisz. van Haarlem, Cornells 77

Tot lering en vermaak: Betekenissen van Hollandse member of the Catholic Guild of St Jacob. In 1630,
genrevoorstellingen uit de zeventiende eeuw (exh. cat. along with several other artists, he drew up new
by E. de Jongh, Amsterdam, Rijksmus., 1976), pp. 73-9 regulations for the Guild of St Luke, which brought
Masters of Seventeenth Century Dutch Genre Painting an end
to its essentially medieval organization and
(exh. cat. by P. C. Sutton, Philadelphia, PA, Mus. A.;
conferred a higher status on art. The surviving
Berlin, Gemaldegal.; London, RA; 1984), pp. 174-9
inventory of his estate contains valuable informa-
B. Broos: Meesterwerken in het Mauritshuis (The Hague,
tion about his art collection. Iconographically,
1987), pp. 101-5

Schutters in Holland: Kracht en zenuwen van de stad

Cornells van Haarlem— as he is usually known-
(exh. cat., Haarlem, Frans Halsmus., 1988), pp. 381-3 had a wider range than his Haarlem colleagues.
Frans Hals (exh. cat. by S. Slive, Washington, DC, N.G.A.; Besides conventional religious and mythological
London, RA; Haarlem, Frans Halsmus.; 1989-90), subjects, he produced a few portraits as well as
pp. 103-8, 252-7 kitchen scenes and still-lifes.


7. Drawings
Only about 15 of the artist's drawings survive,
Cornelisz. van Haarlem, Cornells which seems very little compared to the 500 or
(b Haarlem, 1562; d Haarlem, 11 Nov 1638). Dutch more examples left by his contemporaries Golt/ins
painter and draughtsman. He came from a wealthy and Jacques de Gheyn II. One explanation is thai,

family. During the Spanish siege and occupation unlike them, Cornelis was not a printmaker
of Haarlem (1572-7), his parents moved elsewhere, himself. There are, however, 23 engravings based
leaving their son and large house in the protection on his designs from before c. 1608. In his draw-

of the painter Pieter Pietersz. (1540/41-1603), ings the principal motif is the naked figure,

who became Cornelis's teacher. In 1579 Cornells Whether or not he drew directly from lift is

travelled to France by sea, but the journey termi- unclear; it is thought that he used plaster casts of
nated at Rouen because of an outbreak of plague. parts of the body, since these are listed in the
He then became a pupil of Gillis Congnet inventory of his studio. He was inspired, am
in Antwerp, with whom he stayed for one year. In other things, by the drawings of Roman views by
1580-81 he returned permanently to Haarlem, and Maarten van Heemskerck (Berlin, Kupferstichkab.),

in 1583 he received his first official commission which were once in his possession

from the company portrait, the

city, a militia Three stylistic phases can be distinguished in

Banquet of the Haarlem Civic Guard (Haarlem, Cornelis's drawings ["he tuM is ,i rather rough ^\m\

Frans Halsmus.). Around 1584 he befriended old-fashioned style, as m the Sketch tor a Gvic
Hendrick Goltzius and Karel van Mander, with Guard Banquet [c. 1583; ex-F. Winkler prtf col.,

whom he is said to have established a kind of acad- Berlin, sec Reznicek, 1. pi. villi. After is*s the

emy which became known as

(see Mander, van, (1)), work is noticeably influenced by Goltzius ami

the Haarlem Academy. Cornells later became city Bartholomews Spranger, one good example being
painter of Haarlem and received numerous com- the large drawing (40a (><> ? mini ol Athletic Games
missions from the town corporation. He worked for (shortly after 1590; U Warsaw, hb 1
Later the ren-

the Commanders of the Order of St John and also dering of anatomy ami movement gradually

for the Heilige Geesthuis. He married Maritgen becomes less exaggerated, as in ins beautiful

Arentsdr Deyman (d 1606), the daughter ol a figure drawings in red chalk, very few ol which
burgomaster, some time before 1603. In 1605 he haw been preserved (e.g. the Study <>/ a Man
inherited one third of his wealthy father-in-law \ Undressing, Seen from the link, t 1597;

estate. Cornells also had one illegitimate daughter Darmstadt, Hess. Landesmus.) rhey remained in

(b 1611), who married Pieter Jansz. Bagijn, a sil- the family ami were later used by tin- artist's ille-

versmith, and whose son was the painter Cornells gitimate grandson Cornelis Bega t<> develop ins

Bega. From 1626 to 1629 Cornells Cornelisz. was a own masterly red-chalk technique
78 Cornelisz. van Haarlem, Cornells

2. Paintings adopting what might be called a pseudo-classical

According to van Thiel, some 280 paintings by style. After c. 1610 Cornelis's forms became
Cornelis Cornelisz. survive. The early works still increasingly weak compared with his earlier work,

reveal certain Flemish influences from his and the execution was rather careless. The overall

Antwerp period, for example that of Jan Massys. quality of his later works is mediocre, with the
Cornelis's powerful, vigorous Goltzius-Spranger occasional splendid exception, such as Venus.
style is at its best c. 1588 (see col. pi. IX). In that Bacchus and Ceres (1614: Dresden. Gemaldegal.
vear Goltzius made engravings (Hollstein. nos 4-8) Alte Meister).

of five of the artist's paintings, which brought

Cornelis fame and public recognition. Four show Bibliography

the fall of the legendary figures Tantalus. Icarus, Hollstein: Dut. & Flem.

Phaeton and Ixion. The only extant painting is W. Stechow: Zum Werk des Cornelis Cornelisz. van
Haarlem'. Z. Bid. Kst. lix 11925-61. pp. 54-6
that of Ixion (Rotterdam. Mus. Boymans-van
Beuningen). Because the giants are seen from
— : Cornelis van Haarlem en de Hollandsche laar-
manieristische schilderkunst*. Elsevier s Geillus.
below, floating in the air as they fall, it seems pos-
Mdschr.. xlv 90 PP 73"9i
sible that the large paintings were originally
E. K. J. Reznicek: Die Zeichnungen von Hendrick Goltzius.
intended as ceiling decorations. The fifth engrav- 2 vols (Utrecht. 1961)
ing represents the dramatic story of Two Followers P. J. J. van Thiel: Cornelis Cornelisz. van Haarlem as a

of Cadmus Devoured by a Dragon. In 1961 the orig- Draughtsman". Master Drgs. iii I1965I. pp. 123-54
inal painting was rediscovered in the National Gods. Saints and Heroes: Dutch Painting in the Age of

Gallery. London, having previously been put aside Rembrandt lexh. cat., ed. D. F. Mosbv: Washington. DC.

by the museum as a copy. It is painted with N.GA; Detroit. MI. Inst. A.: Amsterdam. Rijksmus.:
1980-81). pp. 80-85
remarkable vivacity, with vigorous brushstrokes
P. J. J. van Thiel: 'Cornelis Cornelisz. van Haarlem: His
reminiscent of the Venetian masters. It seems
First Ten Years as a Painter. 1582-1592'. Setherlandish
likely that Cornelis acquired this 'Italian' manner
Mannerism: Papers Given at a Symposium in
from van Mander.
Sationalmuseum. Stockholm. 1984. pp. 73-84
In 1590 the burgomasters of Haarlem awarded I 1 McGee: Cornelis Corneliszoon van Haarlem.
Cornelis an unprecedented commission to deco- 1562-1638: Patrons. Friends and Dutch Humanists
rate the interior of the Prinsenhof with paintings. cuwkoop. 1991)
The building, originally a Dominican abbey, served Dawn of the Golden Age: Northern Setherlandish Art.

as a residence for the Prince of Orange. Cornelis 1580-1620 lexh. cat., ed. G. Luijten and others:

made a series of four paintings, alluding to recent Amsterdam. Rijksmus.. 1993-4I. P 304. passim

events in the history of the young Dutch Republic. E. K. J. REZNICEK

The largest of these paintings— covering a wall 4

m wide— shows the Marriage of Peleus and Thetis

1 Haarlem, Frans Halsmus.). This masterpiece was Cuyp [Cuijp; Kuyp]
painted in an elegant, fluent style, with a large Dutch family of artists. Gerrit Gerritsz. (c.

number of Spranger-like nudes in soft tones. The 1565-16441. whose father (d 1605) was probably an
scene is intended as a moralistic warning against artist, was a glass painter from Venlo who moved
discord, which would inevitably lead to the disso- to Dordrecht around 1585. He married and joined
lution of the state and could be prevented only by the Guild of St Luke there that same year, serving
a wise and powerful ruler such as the Prince of as the Guild's deacon in 1607 and 1608. He
Orange. designed and executed numerous stained-glass
From 1594. the year of the Unequal Lovers windows in Dordrecht and other towns until 1639.
(Dresden, Gemaldegal. Alte Meister), the artist but only his cartoon for a window in St Janskerk.

became less outspokenly Mannerist', making less Gouda. survives (1596: Gouda. Archf Ned.
use of exaggerated musculature in his nudes and Hervormde Gemeente). His eldest son. Abraham
Cuyp: (i) Jacob Cuyp 79

Gerritsz. (1588-c. 1647), was also a glass painter; (e.g. the Portrait of Two Children, 1638; Cologne,
his second son, (1) Jacob Gerritsz., was a painter. Wallraf-Richartz-Mus.), but many such portraits
Gerrit Gerritsz. married a second time in 1602; are assigned to him incorrectly.

children from this marriage included the artists Around 1627 Jacob's work began to be strongly

Gerrit Gerritsz. the younger (1603-51), also a glass influenced by Utrecht painters, especially
painter, and the painter (2) Benjamin Gerritsz. By Abraham Bloemaert and Hendrick ter Brugghen.
1617 Jacob Gerritsz. had adopted the surname Houbraken stated that Jacob actually studied with
Cuyp, and the rest of the family seems eventually Bloemaert. A number of pastoral landscapes with
to have followed this practice. (3) Aelbert Cuyp, the shepherds (e.g. Amsterdam, Rijksmus.) and history
most important artist in the family, was the only paintings betray the effects of Utrecht Mannerism.
child of Jacob Gerritsz. Cuyp. A series of Jacob's animal drawings, etched by
Reinier van Persijn (c. 1615-88) in 1641. closely
Bibliography resemble similar print series after Bloemaert. Also
A. Houbraken: De groote schouburgh (1718-21). i. from c. 1627 are several paintings, for example the
pp. 237-8, 248 Man with a Jug (Stockholm, Nmus.), done in
G. H. Veth: 'Aelbert Cuyp, Jacob Gerritsz. Cuyp en the Caravaggesque style practised by Hendrick ter
Benjamin Cuyp', Oud-Holland, ii (1884), pp. 233-90; vi
Brugghen and other Utrecht Caravaggisti. The
(1888), pp. 131-48 [documentary evidence]
man's face in the picture is strongly lit from the
Aelbert Cuyp en zijn familie (exh. cat., intro. J. M. de
side by candlelight, a convention favoured bv
Groot; Dordrecht, Dordrechts Mus., 1977) [source mat.
the Utrecht artists. Their influence is also appar-
and a surv. of the fam.]

De zichtbaere werelt [The visual world] (exh. cat..

ent in Cuyp's simple, yet dramatic half-length

Dordrecht, Dordrechts Mus., 1992) depictions of the apostles Peter and Paul (both
Dordrecht, Dordrechts Mus.) and the evangelist
Luke (Karlsruhe, Staatl. Ksthalle). Perhaps his most
(1) Jacob (Gerritsz.) Cuyp remarkably Caravaggesque conception is his genre
(b Dordrecht, Dec 1594; d Dordrecht, 71652). scene of Two Cavaliers Seated at a Table (St

Painter and draughtsman. Probably taught by Petersburg. Hermitage), in which careful attention
his father, he entered the Guild of St Luke in is paid to the still-life details ot the setting

Dordrecht in 1617, the same year that he executed By 1630 Jacob Cuyp's style ot figtiral painting

an important commission to portray the masters had altered under the influence of Claes Moyaert
of the Holland Mint (Dordrecht, Mus. van Gijn). and Pieter Lastman. resulting in compositions
He was the Guild's bookkeeper in 1629, 1633, that arranged weighty, bulky figures in land-

1637 and 1641 and, according to Houbraken, led scapes. An allegory of the capture of the city ol 's

Dordrecht's fine painters in their separation from Hertogenbosch (1630: \ Hertogenbosch, Stadhuis)
the Guild in 1642. Jacob married Aertken van depicts the stadholder Frederick Henry as David

Cooten from Utrecht in 1618; his only child, (3) holding the head of the slain Goliath (symboliz-
Aelbert Cuyp, was born two years later. ing Spain!, surrounded bv Muses representing the
Much of Jacob's work consists of single bust- seven provinces ol the united Netherlands, ibis

length portraits, executed in a direct, rather sober work may have been commissioned bv tin

style. These date from throughout his career and eminent or court since it appears in an inventory

include at least two sets of portraits of the pow- (1751) of a royal Dutch collection.
erful Dordrecht merchant Jacob Trip and his wife. [acob Cuyp's extremely varied output also

Margaretha de Geer (e.g. Amsterdam, Rijksmus., included numerous still-lifes and genre Scenes,
and Denver, A. Mus., on loan); they were also por- two forms of subject-matter that are combined in

trayed by Nicolaes Maes and by Rembrandt. Jacob the Fish Market (1627: Dordrecht. Dordrechts

Cuyp also painted a few portraits of children in Mus.) The artist also painted kitchen, flower and

landscapes, occasionally accompanied by animals poultry still-lifes. Curious examples of the latter
80 Cuyp: (1) Jacob Cuyp

are the pairs of paintings of a Boy Holding a Goose ing can be isolated. In his handling of religious
and a Girl Holding a Chicken (e.g. Paris, Louvre), subjects, Benjamin may be considered an impor-
with an inscription Mon oye faict tout la French tant follower of Rembrandt, with whom, however,
pun on money and goose). he seems to have had no direct contact. His
Jacob provided instruction not only for his fellow townsmen Paulus Lesire (1611-after 1656)

half-brother (2) Benjamin Cuyp and his son and Hendrik Dethier, who also entered the
Aelbert, but also for Ferdinand Bol, Paulus Lesire Guild in 1631, were also strongly influenced by
(1611-after 1656) and others. He collaborated with Rembrandt's early work, as indeed were such later

Aelbert on several paintings: three group por- Dordrecht artists as Ferdinand Bol. Nicolaes Maes,
traits, two dated 1641 and another of 1645- and Samuel van Hoogstraten and Aert de Gelder.
several landscapes with shepherds. In such works, Benjamin constructed several variations of
Jacob painted the figures and Aelbert the land- Rembrandt's compositions from the late 1620s and
scapes. early 1630s, in particular Judas and the Thirty-

Jacob's last signed and dated work. Boy with a Pieces of Silver (1629; GB. priv col., see J. Bruyn
Wineglass and Flute (priv. col., see bibliog. above, and others, A Corpus of Rembrandt Paintings, i

1992 exh. cat., no. 28), is from 1652; later the same (The Hague, 1982). no. A15), an especially common
year his wife is referred to as a widow. source for Rembrandt's early followers. Benjamin
borrowed not only Rembrandt's deeply shadowed
Bibliography lighting but also his characteristic huddled
M. Balen: Beschryvinge der stad Dordrecht (Description of figures and piled-up compositions (see Ember, figs
the town of Dordrecht] (Dordrecht, 1677). pp. 666, 682 5-7). Benjamin's paintings of the Flight into Egypt
J. Heyligers: Jacob Gerhtsz. Cuyp: Portrat. Genre- und (ex-art market, Paris, 1951, see Ember, fig. 1) are
Historienmaler zu Dordrecht (diss.. U. Rostock. 1924I
similarly derived from the nocturnal setting of a
Portret van een meester (exh. cat.. Dordrecht. Dordrechts
Rembrandt school painting (Tours. Mus. B.-A., see
Mus.. 19751
Bruyn and others, no. C5).
A. Chong: 'De Apostel Paulus uit 1627 door Jacob Cuyp".
In other paintings tentatively assigned to
Dordrechts Mus. Bull., xiii 4-5 1988): Eng. trans,
1 in

Hoogsteder-Saumann Mercury. 7 1 1989). pp. 10-18

Benjamin's early career, the influence of Leonaert
Bramer can be felt in dark monochromatic works
consisting of a few figures (Ember, figs 2-3). These
(2) Benjamin (Gerritsz.) Cuyp various stylistic elements are combined in
\bapt Dordrecht, Dec 1612: d Dordrecht, bur 28 the large, ambitious Adoration of the Magi
Aug 1652). Painter, half-brother of (1) Jacob Cuyp. (Dordrecht, Dordrechts Mus.). which displays free,
Houbraken stated that he studied with his half- quick brushwork and deeply saturated colours.
brother Jacob. Benjamin entered the Guild of St The influence of Adrian Brouwer and Adrian van
Luke on 27 January 1631, at the same time as his Ostade is added to that of Rembrandt and Bramer.
brother Gerrit Gerritsz. the younger. In 1641 Benjamin's achievement was the marriage of a
Benjamin gave evidence in a medical affair, which sketchy brush technique with an intensity of light
has prompted speculation that he may have and colour. He came to favour biblical and his-

trained as a doctor, but in 1643 he is twice torical scenes featuring dramatic bursts of light,

recorded in The Hague as a painter, living with such as the Annunciation to the Shepherds,
other artists. Seventeen of his paintings appeared the Raising of Lazarus, the Resurrection, the
at auction at Wijk-bij-Duurstede in 1649. At the Liberation of St Peter and the Conversion of
time of his death, he was living in Dordrecht with Saul. A tumble of figures, one boldly silhouetted,
another half-brother, who was a glassmaker. and dramatic flashes of light characterize,
As no dated works by Benjamin are known, it for example, the Conversion of Saul (Vienna,
is difficult to chart the artist's development accu- Gemaldegal. Akad. Bild. Kst.. Another group
rately, although several different styles of paint- of Benjamin's paintings, also conceived in a

Cuyp: (3) Aelbert Cuyp 81

painterly style but employing delicate pastel Jacob Cuyp. One of the most important landscape
shades of blue, pink and orange, seems to have painters of 17th-century Netherlands, he com-
been strongly influenced by Adrian van Ostade, bined a wide range of sources and influences,
for example the Liberation of Peter (Kassel, Schloss most notably in the application of lighting effects
Wilhelmshohe), which is more brightly and evenly derived from Italianate painting to typical Dutch
lit than the majority of Benjamin's paintings. subjects. Such traditional themes as townscapes.
Benjamin Cuyp also painted religious and winter scenes, cattle pieces and equestrian por-
history scenes in a monochrome palette with traits were stylistically transformed and given new
heavy impasto highlights, for example the grandeur. Aelbert was virtually unknown outside
Annunciation to the Shepherds (Hannover, his native town, and his influence in the 17th
Niedersachs. Landesmus., see Ember, fig. 37), century was negligible. He became popular in the
which is constructed in various shades of brown. late 18th century, especially in England.
These works resemble grisailles, with a complex
overlay of sketchy white strokes, as in the 7. Life and work
Adoration of the Shepherds (Berlin, Gemaldegal.). No record exists of his training or entry into the

In smaller-scale interior scenes the influence of painters' guild, but it is clear that he was taught
Adrian Brouwer and Daniel Teniers can be felt. by his father, for whom he painted the landscape
These include biblical subjects (e.g. Tobias; backgrounds in two family group portraits from
Dordrecht, Dordrechts Mus.) but more often are 1641 (Jerusalem, Israel Mus.; and priv. col., sec

genre paintings, usually of peasants, inn scenes Reiss, nos 16-17). By this time Aelbert had begun
(e.g. Budapest, Mus. F.A.) or depictions of soldiers to travel in Holland and along the Rhine, making
(e.g. Cologne, Wallraf-Richartz-Mus.). Benjamin sketches of Rhenen, Arnhem. Amersfoort, Utrecht.
also painted a number of battle or encampment Leiden and The Hague. In late 1651 or in 1652 he
scenes in a loose style influenced by painters such again journeyed up the Rhine and the Waal past
as Gerrit Claesz. Bleker and more generally Esaias Rhenen to Nijmegen. .is far as ( lew. 1 lien and
van de Velde. Closely connected with these are Emmerich. The numerous drawings made on this
Benjamin's beach scenes, which usually feature trip provided motifs for main ot the painter's

the unloading of fish from boats overseen by gen- later landscapes. In 1658 Cuyp married Cornelia
tlemen on horseback. The landscapes that form Boschman (1617-89). the widow of Johan v. 111 den
the settings for these themes show some influence Corput (1609-50), a wealthy regent by whom she

from (1) Jacob Cuyp and, in turn, may have influ- already had three children. In 1665 the family
enced (3) Aelbert Cuyp's early work. bought a larger house in the Wijnstraat. Cuyp'S
marriage left him financially well-off and socially
Bibliography prominent, and he and his wife owned large tracts
K. Bostrom: 'Benjamin Cuyp', Ksthist. Tidskr., xiii (1944). of land around Dordrecht. He became .1 ileacon

PP- 59-74 (1660) and an elder 167a) of the Reformed

c hurch,
I. Ember: 'Benjamin Gerritsz. Cuyp', Acta Hist. A. Acad. Sci.
a regent of the sickhouse (1673) and a member ol
Hung., xxv (1979). PP- 89-141; xxvi (1980), pp. 37~73
the High Court ol South Holland (1679). With the
Gods, Saints and Heroes: Dutch Painting in the Age ol
fall of the de Witt brothers a\m\ their taction in
Rembrandt (exh. cat., ed. A. Blankert: Washington, DC,
1673, Cuyp'S name was put on a list ol 100 caiuli-
N.G.A., 1980), pp. 253-4, 270-71
daies approved by supporters ol the stadholder
W. Sumowski: Gemalde der Rembrandt-Schiiler. i (landau.
William ill. although he did not actually assume
municipal office. At the death ol his wife, C Uyp'S
estate was worth 42,000 guilders. Their only child.

(3) Aelbert [Albert] Cuyp a daughter, Arendii married Meter

(b Dordrecht, bapt late Oct 1620; d Dordrecht, bur Onderwater (i< n 1690; she died in 1

15 Nov 1691). Painter and draughtsman, son of ( 1

her only son having died at the age ol four
82 Cuyp: (3) Aelbert Cuyp

(i) Early work, 1639-c. 1645. Cuyp's earliest works are larger in scale is a Farm Scene (Melbury House,
three landscape paintings signed and dated 1639: Dorset, see 1987-8 exh. cat., no. 20), rendered in
a Farm Scene (Besancon, Mus. B.-A.), a Harbour rich green tones and showing greater composi-
Scene (London, Johnny van Haeften Ltd) and a River tional complexity. Closely connected with this is

Valley with a Panorama (the Netherlands, priv. col., the Baptism of the Eunuch (Houston, TX, Menil
see 1992 exh. cat., no. 15), the last of which shows Col.).

his interest in the work of Josse de Momper II,

Hercules Segers and Esaias van de Velde. The only (ii) Mature work, c. i645-mid-i65os. Around 1645 Cuyp
works that can be convincingly dated before these became influenced by the light and compositions
paintings are a Rocky Landscape with Cows (ex-art of Dutch Italianate landscape painters, especially
market, Brussels, 1928; see Chong, 1991, fig. 42) Jan Both and, to a lesser degree, Saftleven and
and a similar drawing (Bremen, Ksthalle), which Herman van Swanevelt. Cuyp's first Italianate
are especially close to de Momper's work. A paint- landscapes are cast with a smoky orange sunlight,
ing dated 1640 with shepherds, tall cliffs and a dis- with shepherds and their flocks occupying a
tant panorama (USA, priv. col., see Chong, 1991, prominent place in the composition. The treeless
fig. 45) shows the clear influence of Cornells van rocky plains he painted resemble the work of
Poelenburch. Directly related in style and compo- Jan Asselijn and Nicolaes Berchem, although,
sition are two paintings of Orpheus in a Landscape in fact, he predated these two Italianate artists.

(Dessau, Staatl. Gal.; the other sold at London, Two Herdsmen and Cattle in a Wide Landscape
Sotheby's, 6 July 1994), the first of Cuyp's histori- (London, Dulwich Pict. Gal.) shows a brilliant sun
cal subjects. same time he also
At about the contre-jour over a misty landscape; the Ruins on
painted the distant background in his father's a Hill with Sheep and Two Horsemen (Amsterdam,
Landscape with Two Shepherds (Montauban, Rijksmus.) introduces the theme of horsemen that
Mus. Ingres). Cuyp so often used later in his career. Also among
The bulk of Cuyp's output from the early 1640s Cuyp's first Italianate paintings is another paint-
until c. 1645 is based on the tonal landscapes of ing of Orpheus (priv. col., see Reiss, no. 48).
Jan van Goyen, Salomon van Ruysdael and Herman Two paintings are dated 1645: a Portrait of Four
Saftleven II, although Cuyp constantly sought Children in a Landscape (Devon, priv. col., see
brighter and stronger contrasts of light. Van Goyen Chong, 1991, fig. 54), signed and dated by both
seems to have visited Dordrecht on numerous Jacob and Aelbert Cuyp, Jacob again being respon-
occasions, and his son-in-law Jacques de Claauw (
sible for the figures; and a View of Rijnsburg
fl 1642-76) was a Dordrecht artist associated with Abbey (priv. col., see Chong, 1991, fig. 51). These
Jacob Cuyp. Aelbert may therefore have had direct introduce a series of landscapes lit by a strong,
contact with van Goyen. Cuyp commonly depicted almost monochromatic sun, but with clear blue
quiet waterways and inlets (e.g. River Scene with skies. Milking became a dominant theme in

Distant Windmills; London, N.G.). Several paint- Cuyp's work in the years just after 1645 (e.g.

ings, for instance the View of the Mariakerk, Milking Scene near a River, Karlsruhe, Staatl.

Utrecht (Salzburg, Residenz Gal.), are based on Ksthalle). The Distant View of Dordrecht (the
sketches made in Utrecht.Cuyp must have visited 'Large Dort', London, N.G.) combines a milking
the city on several occasions; his mother was from scene with a profile of the artist's native city.

Utrecht, his father had studied there, and he These scenes were succeeded c. 1650 by very simple
himself seems to have been influenced by a series landscapes consisting almost wholly of herds of
of Utrecht painters, including Poelenburch, cattle, placed on river banks (e.g., Paris, Louvre,

Saftleven and, later, Jan Both. Cuyp also began to see col. pi. X) or actually in a river (e.g. Budapest,
depict his home town of Dordrecht in paintings N.G.). Cuyp also paired paintings of cows in a

delicately tinged with pastel colours (e.g. Malibu, river with representations of bulls on a river bank
CA, Getty Mus., and Leipzig, Mus. Bild. Kst.). Much (e.g. GB, priv. col., see 1987-8 exh. cat., p. 294). The
Cuyp: (3) Aelbert Cuyp 83

dairy industry near Dordrecht was expanding in which is derived from a sketch of Elten (Paris,
the mid-i6oos through ambitious land reclama- Fond. Custodia, Inst. Neer.), which also served as

tion programmes, and these paintings must have the basis for the Draughtsman near Elten (Woburn
reminded viewers of this. Abbey, Beds). Inventories in 1680 and 1749 provide
Around 1650 Cuyp also painted a number of a precise identification of the Pompe van
figural scenes and portraits (e.g. 1649; London, Meerdervoort boys, the elder of whom died in
N.G.). A Portrait of a Man with a Rifle (Amsterdam, 1653. Hunting forms the primary theme in most
Rijksmus.) has a pendant showing a Woman of Cuyp's equestrian portraits, to which figures in

Dressed as a Huntress (1651; priv. col., on loan to Turkish garb lend an exotic as well as elegant
Boston, MA, Mus. F.A.). Cuyp also portrayed Jacob atmosphere. No less prestigious African pages
Trip (the Netherlands, priv. col., see 1977 exh. cat., appear in other portraits of riders (e.g. London.
no. 20), whom Jacob Cuyp, Nicolaes Maes and Buckingham Pal., Royal Col., and Birmingham,
Rembrandt also painted. Cuyp's last dated work is Barber Inst.). Another double portrait, of a Lady
a Portrait of a Child with a Sheep (1655; London, and Gentleman on Horseback (Washington. DC,
John Mitchell & Sons). There are also a few paint- N.G.A.), is problematic since the figures were
ings of poultry (e.g. London, Leger Gals) and repainted by Cuyp at a later stage, and hunting
several stable interiors with cattle in their stalls, figures in the distance were altered. Related to
the latest of which shows a Woman Scouring a Pot these works is a painting, perhaps a portrait, of

(Dordrecht, Dordrechts Mus.), with brilliant light an Officer Tying Ribbons on his Horse (London.
entering from an open door. Around this time Buckingham Pal., Royal Col.). Cuyp's second
Cuyp also painted two copperplates showing version of the Baptism of the Eunuch (Anglesey
Apollo and Mercury (both priv. col., see de Abbey, Cambs, NT) is based on treatments of the

Mirimonde, figs 1 and 2), which were originally subject by Rembrandt and Benjamin Cuyp, but its

fitted as doors to a cabinet. He also painted two Italianate landscape with numerous riders is

versions of the Conversion of Saul, based gener- indebted to Jan Both's painting of the same
ally on the many representations by his uncle (2) subject (London, Buckingham Pal., Royal Col 1

Benjamin Cuyp. The example in Amiens (Mus. Aelbert also painted a Riding School 1 loledo. OH.
Picardie), full of brilliant light and gesticulating Mus. A.) near a Romanesque church and
figures, is Aelbert's only true figural composition surrounded by Classical statuary. In all these
(the other version is in the Netherlands, priv. col., equestrian paintings, well-dressed riders are rep-
see 1977 exh. cat., no. 27). resented with act essoins that enhance then-

Cuyp's first equestrian portrait is of Pieter de status and lend an elegant, almost classicizing
Roovere (The Hague, Mauritshuis); the sitter died atmosphere to the scene.

in 1652, and the style of the portrait resembles One of Aelbert Cuyp's favourite motifs in his
the cattle pictures of c. 1650. De Roovere is later career was the town ot Nijmegen m
depicted inspecting a large fish held by a boy, a Gelderland. The town, especially the medieval
motif often used by Benjamin Cuyp in his beach citadel Valkhot. was familiar from maps .md
scenes. Here it takes on added significance, since prints and the main paintings ot van (.own and
fishing and the smoking offish were major indus- Salomon van Ruvsdael: the popularity ot the sin-

tries in the area around Dordrecht, including de was due to its importance in the history ot the

Roovere's estate at Hardinxveld. Aelbert's chronol- Netherlands, especially as tin- supposed seal ot

ogy after c. 1652 is impossible to determine with Claudius ( iviliS, leader ot the Hatavian revolt

any certainty. Nevertheless, the portrait of de againsl the Romans ihe sublet t thus had strongly
Roovere must soon have been followed by the patriotic associations tor citizens ot the newly
equestrian portrait of Michiel and Cornells Pompe independent Hutch On the journey <>i

van Meerdervoort with their Tutor and Coachman 1651 or 1652 Cuyp made numerous skrnhes
(c. 1652-3; New York, Met.), the background of of Nijmegen from different vantage-points. He
84 Cuyp: (3) Aelbert Cuyp

painted two versions of the View of the Valkhof sketch of the ruins (London, BM) and shows skaters
from the North-east (Woburn Abbey, Beds, and on the ice; the other winter landscape shows
Indianapolis, IN, Mus. A.), based on a drawing (sold Fishing under the Ice (Woburn Abbey, Beds).
Amsterdam, Sotheby's, 25 April 1983, lot 73); these
are similar to van Goyen's pictures but arranged (iii) Last works, late 1650s and after. Costumes or other
with greater classical repose and rendered in forms of external evidence provide little clue as to
Cuyp's rich Italianate light. The earlier of Cuyp's when Cuyp stopped painting, although his mar-
versions with pastoral herders (Indianapolis) has riage in 1658, with its increasing social responsi-
as its pendant a View of Nijmegen from the East bilities, seems to have marked a slowing of
(USA, priv. col., see Reiss, no. 129). The second and production. His last works, probably from the late
larger view from the north-east (Woburn Abbey) 1650s, consist of broad, open landscapes populated
shows elegant gentlemen on horseback; its by elegant riders and shepherds: the River
pendant is a deeply shadowed View of the Valkhof Landscape with Two Horsemen (Amsterdam,
from the South-east (Edinburgh, N.G.). A scene of Rijksmus.) is directly transcribed from a sketch

Ships before the Valkhof (Scotland, priv. col.), made near Cleve, but other works are imaginary,
similar to depictions of the fleet at Dordrecht, although still based on Rhineland scenery.
completes the group of depictions of Nijmegen Peasants on a Road (London, Dulwich Pict. Gal.)

and probably refers to the visit in 1647 of the shows a screen of trees with mountains in the dis-

Stadholder Frederick Henry in the company of tance; the composition and the crystalline
Elector Friedrich Wilhelm of Brandenburg. Italianate light are derived directly from the work
Cuyp meanwhile continued to paint ships and of Jan Both. Unlike Both, however, Cuyp almost
views of Dordrecht. Occasionally shown in stormy always employed a flat foreground on which to
weather (e.g. London, Wallace), the town is more arrange his staffage. In what are probably Cuyp's
typically seen with glassily still water. Two views last landscapes, a strong silvery light casts a mono-
of Dordrecht at Sunset (London, Kenwood House, chromatic glow over the entire scene. This is

and Ascott, Bucks, NT) are early contributions to clearly seen in the Hilly Landscape with Shepherds
the development of the pure townscape, preced- and Travellers (London, Buckingham Pal., Royal
ing, for example, Vermeer's View of Delft (c. 1661; Col.), in which the ridges and horsemen are influ-
The Hague, Mauritshuis). The careful attention enced by an etching by Jan Both. The same light
Cuyp paid to the fall and reflection of light and gilds the River Landscape with Horseman and
to the calm shapes of the ships and floating log Peasants (London, N.G.), Cuyp's largest landscape,
rafts is especially striking. In the Gathering of the in which the distant mountains and the town on
Fleet at Dordrecht (mid-i650s; Washington, DC, the far side of the lake are not topographically
N.G.A.) Cuyp depicted the arrival of a dignitary, accurate transcriptions but evocations of an idyl-
perhaps an evocation of a rendezvous of 1646 (a lic pastoral land, populated by a hunter, an ele-
type of picture favoured by Simon de Vlieger and gant rider and shepherds.
Jan van de Cappelle), which Frederick Henry
did not himself attend but which was marked by 2. Working methods and technique
great festivities and celebrations. The work may, Most of Cuyp's early paintings are based on draw-
however, also recall other visits of the Stadholder ings of rivers, forests and towns, rendered in black
and Cuyp twice painted
his family to the town. chalk and usually worked up in green, brown and
winter scenes near Dordrecht. Although other a characteristic mustard-yellow wash. More than
Dutch Italianate artists occasionally painted most Dutch landscape artists, Cuyp made draw-
winter landscapes (e.g. Asselijn and Berchem), ings as an integral part of his creative process,
Cuyp uniquely was able to impart a golden glow beginning with sketches made on the spot, later

to ice landscapes. The Ice Scene near the Huis te worked up in the studio and then transformed
Merwede (Brocklesby Park, Lines) is based on a into paintings. He also produced a number of
Cuyp: (3) Aelbert Cuyp 85

figure studies (e.g. Paris, Fond. Custodia, Inst. the original sketch (1652) from nature, later
Neer.) that were used in the same fashion. During adding the background hills and framing trees.
his 1652 journey up the Rhine and the Waal, he The broken, blond brushwork in Cuyp's earls-

filled sketchbooks with dozens of drawings done painted work shows his indebtedness to Jan van
on the spot, often continuing a sketch across to Goyen, as does the monochromatic colouring; this
the back of the adjacent page, allowing the is clearly evident by 1641 in the two group por-
sequence of drawings to be partially recon- traits with figures by Jacob Cuyp. Aelbert gradu-
structed. Most of Cuyp's later paintings can be ally replaced the brushwork of this van C
connected with these sketches or similar ones phase with deeper colours and greater contrasts
made The first painting that
in or near Dordrecht. of light, allied to a greater solidity of structure.
appears show high cliffs above the Rhine
to Many paintings are devoted to nature's specialized
(Rotterdam, Mus. Boymans-van Beuningen) has no light effects: his evening and nig: typi-

preliminary drawing, but, instead, a sketchier cally set in harbours, are highlighted with rich
version in oil (Paris, Fond. Custodia, Inst. Neer.); pastel tones (Toledo. OH. Mus. A., and Cologne.
dendrochronology indicates that the work dates Wallraf-Richartz-Mus.). and he painted two storm
from just after 1649. Cuyp's drawing of Ubbergen scenes streaked with lightning (c. 1644; Zurich.
Castle near Nijmegen (Vienna, Albertina), used for Stift. Samml. Buhrle: and early 1650s; Paris.

the painted version (London, N.G.) of the site Louvre,: see fig. 13). Cuvp's later technique s^

where an important battle against the Spanish to have moved from a brushy calligraphic touch
took place in 1591, shows how the artist elaborated towards a harder style.

13. Aelbert Cuyp: Boats on the Estuan- ol Holland s Diep during a Storm
- :..: : Ae re- Z^z

3. Critical reception and posthumous reputation

In his own lifetime Cuyp seems to have been J. Smith: A Catalogue Eaisonne of the Works of the Most
I — Z.::r. ?. = —. .-.-. ir.s Frizsz ?i.z:&:- :-;_
:i~ -?-.<7.:-.'.- :.:;::: Z ::i:±:r.' H:i -r.-::-i.
pp. 279-368. 443-S3t; suppL ix (1942). pp. 64s "
pupil was probably abkaham van Caulaft la number
if* — :

of whose works were previously attributed to

G- F. Waagen: Treasures of Art in Great Britain, 3 vols
Cuyp), although Houbraken recorded Abraham's
I.:-;:- :«m
brother Barent van Calraet (1650-1737) as a C Hofstede de Groot: HoUandische Maler. ii 1(19084.
student. Houbraken provided the first account of pp. 5-246
the career of his fellow-townsman in 1718. and for •-.
} it \'.:r.-:-ii Vr. ?.-.e:_? er.:~. = : ;_e n I _ .7

nearly a century this brief discussion remained Oud-Holland. lxxx 11965^ pp. 181-8

the only biography of the artist. Although a few J. Nieuwstraten: "Een ondening van Cuyp aan Claude

paintings attributed to Cuyp began to appear at L:::i.- 1 -.7 i :•: — ;-..-;- 1 :': :~ I.i. _'e '..: — :r. I -S-

Holland. lxxx (19631. PP- 192-3

auctions in the Netherlands and London in the
W. Stechow: Dutch Landscape Painting of the 17th
1750s. Cuyp escaped the attention of nearly all
Century -London. 19661. pp. 40. 61-4. 161. 181
18th-century writers of lejtica and landscape
D. G. Burnett: The Landscapes of Aelben Cuyp". Apollo.
surveys. Richard Wilson noted that Cuyp was
Ixxxix (1969). pp. 372-80 (gen. survey, with some
still little known and appreciated. Towards the bnomaoa
end of the 18th century the situation altered J. G. van Gelder and I jost: "Vroeg contact van Aelbert
dramatically: in 1774 a sale catalogue termed Cuyp met Utrecht' (Aelbert Cuyp's early contact with

Cuyp the equal of Claude: and in Dordrecht. Johan Utrecht! Miscellanea /. Q. van Megteren Altena

van der Linden van Slingeland's sale 122 Aug 1

Amsterdam. 1969 u pp. 100-03


'Doorzagen op Aelbert Cuyp" (Comments about

1785) of 41 works catalogued as being by Cuyp :

Aelbert Cuyp. Ned. Kstbist. Jb- xxiii (1972I. Pf

(of which at least 17 are genuine) fetched high
S. Reus: Aelbert Cuyp London. 19-5 c review by C Brown
prices, as did paintings occasionally sold in
England. By the late 18th century writers had
already begun to complain of numerous imita- Aelbert Cuyp en zijn funOie <exh. cau intro by J. M. de
tions and copies being passed off as genuine 1-r:-:: Z-:nr irzz: !•: r^rc-; .".:> '/_• :

works by Cuyp: in Dordrecht, artists such as Masters of t7tb-century Dutch Landscape Painting (exh.

Dionys van Dongen (1748-1819), Arie Lam me :i: e: ? -_:::r. '.--"r-:^- •.._>-> — _« r:>::r V '--

(1748-1801). Aert Schoumann and Jacob van Strij Mus. F_V; Philadelphia. PA Mm. A.: 1987-8) jentries on
Cuyp by A. Chong|
were responsible for copies and pastiches of
A. Chong: "In t verbeeJden van slachtdieren"" (Depicting
Cuyp's work.
:'ir~ i-.-i -
'•':-•-:- • r: '•'i-'r". ii".- i\Z
John Smith's remarkable catalogue of 1834 was
cat— Dordrecht. Dordrechts Mus.: Leeuwarden. Fries
the first attempt to define Cuyp's oeuvre system- Mus^ 1988-91
atically: Waagen's survey of British collections — New Dated Works from Aelbert Cuyp's Early Career'.
added significantly to this. Set against these Burt Mag, cxxxiii U99»l- PP- 606-12

works, which catered primarily for art dealers and — v;.; i. '.'ri-.-r- - -."r ?i;r.::r. fi :: '-.e.-fr: Z-\~
aristocratic collectors, were critics who felt that «diss_ New York L _ 1992*
-"f :.;.:::ie:: -r.-r.: Tz- ..f.i. ~::.i i\z ;i:
living artists were being ignored in the scramble
Dordrecht. Dordrechts Mus_ 1992*
to buy Old Masters. Pamphleteers attacked collec-
torsand criticized Cuyp's work, although painters
themselves, most notably J. M. W. Turner and John
Constable, praised Cuyp and borrowed from his
pictures. John Rusltin. while conceding Cuyp's Delen. Dirck (Christiaensz.) van
value as a pastoral landscape painter, found him Ib Heusden. nr s Hertogenbosch. 1604- r
lacking in realism when compared with British Arnemuiden. t6 May 1671 Dutch painter. When 1.

painters, especially Turner. he married in 1625 he was a citizen of Middelburg.

Delff, Willem Jacobsz. 87

but he settled in nearby Arnemuiden, where he Hermitage, falsely signed HvSteenw 1623). Van
became master of the toll-house. From 1628 until Delen's palette became lighter and brighter, the
his death he was almost continually a member of paint surface glossier. In the architecture, pre-
the town council, mostly as burgomaster. He was dominant features are pink, black and white
widowed three times and had at least one son, marble and an excess of sculpture, in which he
though no children survived him. The inventory was influenced by the Antwerp Baroque style. The
of his estate testifies that he was well-to-do. figures, often copied from prints by Abraham
Van Delen devoted his painting entirely to Bosse, Marcantonio Raimondi, Gian Jacopo
architectural subjects. His earliest works, particu- Caraglio, Annibale Carracci and others, are rich
larly the views of palaces, borrow heavily from and fashionable.
the graphic work of Hans Vredeman de Vries and Around 1640 van Delen produced his most
Paul Vredeman de Vries. The architecture is ambitious works, after which his output rapidly
Renaissance but not governed by classical rules. declined. These compositions become more sober,
The buildings look more heavily constructed than the colours softer and yellowish. In the foreground
the Vredeman de Vries prototypes and are deco- of his larger compositions there is usually a
rated in a more modern manner, based on that palace, receding diagonally from the left or right,
found in such Italian prints as Bernadino Radi's as in Architectural View with the Return of the
sepulchre designs and Michelangelo's porch of the Prodigal Son (1649; Cologne, Wallraf-Richartz-
Campidoglio reproduced in the Vignola editions. Mus.). A similar composition. Exterior of a Palace
He also painted church interiors, for the earliest (after 1660; Lille, Mus. B.-A.), was formerly attrib-

of which (e.g. 1627; St Petersburg, Hermitage) he uted to Willem van Ehrenberg (1630-76). who is
used the print by Johannes van Londerseel after a likely to have been van Delen's pupil. Known
painting by Hendrick Aertsn (d Gdansk, 1603) as a pupils were Daniel de Blieck ( fl 1648-73) and Hans
point of departure. Other sources for his gothi- Jurriaensz. van Baden (1604-63). Van Delen was
cizing church architecture may have been the the most important inspirational force to suc-
work of Antwerp architectural painters, although ceeding architectural painters in Antwerp.
he did not adopt their rigid tunnel perspective.
His style seems closer to that of church interiors Bibliography

by his contemporary Bartholomeus van Bassen. H. Jantzen: Das niederlandischc Architektuibild (Leip

Certainly some of van Bassen's works served as 1910//? Brunswick, 1979)

W. A. Liedtke: 'From Vredeman de Vries to Duck van
models for the interior views that van Delen pro-
Delen: Sources of Imaginary Architectural Painting', Kl
duced from 1628. The architecture in these is
Des. Bull. (Winter 1970). pp. 15-25
massive,more suited to the exterior of a building,
T. Trent Blade: The Paintings of Dirck win Helen (diss
with rooms covered by heavy coffered ceilings. The Ann
MN. 1976; microfilm. Arbor. 1980)
use of colour, too, is heavy, with many dull brown-
ish tints. The figures, traditionally thought to have

been painted by others, are almost all by van Delen

and until c. 1630 were often inspired by or copied
from Dirck Hals, as in Interior with Ladies and Delff [Delft], Willem Jacobsz.
Cavaliers (1629; Dublin, N.G.). (oDclft. is Sept 1580; d Delft 1 1 April 16 j8). Dutch
became more exu-
After 1630 van Delen's style engraver He was the son <>t the ivitt portrait

berant, and his output was dominated by palace pamtcr Jacob Willemsz. Delfl the eldei

exteriors. In making his courtyard scenes more 1550-1601). from whom he presumably received
spacious he was influenced by the work ol his earliest artistic instruction Because ins earli-

Hendrick van Steenwijck II, whose Courtyard of a est known work, an engraved portrait ol

Renaissance Palace (1609; London, N.G.) he copied, Christianus C Bailifl in Delff; 1600;

adding his own staffage (c. 1632; St Petersburg, Hollstein, no. 29), was made alter a drawing by the
88 Delff, Willem Jacobsz.

Antwerp engraver Johan Wierix, it has sometimes Charles I of England (1628; Hollstein, no. 2) and his
been assumed that Delff studied engraving under consort Henrietta Maria (1630; Hollstein, no. 3)

this Flemish artist. This, however, is unlikely since after paintings by Daniel Mijtens the elder, while

the original drawing had been made over 20 years paintings by van Mierevelt served as the model
earlier. It is far more probable that Delff was for the prints of Frederick V of Bohemia (1622
taught engraving by a Dutch artist, possibly and 1623; Hollstein, nos 8 and 10), his consort,
Hendrick Goltzius. In the first part of his career Elizabeth Stuart (1623 and 1630; Hollstein, nos 9
Delff devoted himself primarily to producing book and 11), and their sons, Frederick Henry (1629;
illustrations. He also produced portrait prints Hollstein, no. 12) and Charles Louis (1634;
after the work of such painters as Michiel Jansz. Hollstein, no. 67). Other internationally famous
van Mierevelt and Jan Anthonisz. van Ravesteyn. persons of whom Delff made portrait prints after
As far as is known Delff worked exclusively as paintings by van Mierevelt were George Villiers, 1st

a reproductive engraver; there are no known Duke of Buckingham (1626; Hollstein, no. 13),

prints made after his own designs. His excellent Sir Dudley Carlton (1620; Hollstein, no. 26), Hugo
technique produced portrait prints that are Grotius (1632; Hollstein, no. 30), Ernest, Count of
among the best of their type ever made in Holland; Mansfeld (1624; Hollstein, no. 43), Axel, Count
they are worthy replicas of paintings by promi- Oxenstierna (1636; Hollstein, no. 66) and Gustav II

nent portrait painters of the first half of the 17th Adolf of Sweden (1633; Hollstein, no. 87).

century. In addition to portraits, Willem Delff also pro-

Delff s career as a successful portrait engraver duced illustrations for books after 1618, including
began only after his marriage in 1618 to Geertruid those for the famous edition of LAcademie de
van Mierevelt, daughter of the well-known Delft l'espeeby Gerard Thibault (1628), for which he pro-
portrait painter Michiel van Mierevelt. After his vided three engravings (Hollstein, nos 102-4).
marriage, Delff became the exclusive engraver of Delff s work was highly successful, and he was
the portraits painted by his father-in-law. In the awarded the title of engraver to the King of
next 20 years about 50 engraved likenesses were England. Records also indicate that he was a
made by Delff after examples by van Mierevelt, prosperous man. In 1638, the year that he died,
some of them portraits of Delft burghers, others his portrait was painted by his father-in-law
portraits of prominent figures from Holland and (Schwerin, Staatl. Mus.). His son Jacob Willemsz.
abroad. During the same period Delff also made Delff the younger (1619-61) was trained as a por-
a number of portrait prints after other artists, trait painter in the workshop of his grandfather,
including Adriaen van de Venne, David Bailly and continuing van Mierevelt's work after he died
Daniel Mijtens the elder. in 1641.

Delff s portrait prints of rulers and high-rank-

ing nobles are generally in a large format, c. Bibliography

420x300 mm. The majority are busts. The painter Hollstein: Dut. & Flem.\ Thieme-Becker; Wurzbach
obtained an eight-year licence from the Dutch D. Franken: L'Oeuvre de Willem Jacobsz. Delff

government (Amsterdam, 1872) [with cat. rais.)

for his portraits of famous people,
H. Havard: Michiel van Mierevelt et son gendre (Paris,
protecting him against copies by others. His
best-known prints include the various engraved
portraits of the Dutch stadholders: William the
Silent of Nassau (1623; Hollstein, no. 55, and 1624;
Hollstein, no. 56), Maurice (Hollstein, no. 59) and
Frederick Henry, Prince of Orange Nassau (1624; Doomer, Lambert (Harmensz.)
Hollstein, no. 61)— the portraits of William after (b Amsterdam, bapt 11 Feb 1624; d Amsterdam, 2

van de Venne and Cornells Visscher, the others July 1700). Dutch painter, draughtsman and col-

after van Mierevelt. He engraved portraits of lector. He was trained to be a joiner by his father,
Doomer, Lambert 89

Harmen Doomer (i595~i650), a prosperous manu- topographical views. About 1671-3 he produced an
facturer of ebony picture frames and cabinets. extensive group of replicas on account-book paper;
Doomer's father supplied frames to Rembrandt, these second versions constitute almost a quarter
who in 1640 painted his portrait (New York, of his surviving drawings. In 1665 Doomer pro-
Met.) and that of his wife Baertge Martens (St vided 11 drawings for the important collection of
Petersburg, Hermitage). Lambert probably spent topographical landscape drawings assembled by
some time in Rembrandt's studio c. 1644, where the Amsterdam lawyer Laurens van der Hem, now
he developed his skill as a draughtsman. preserved in the Atlas van der Hem (Vienna, Oster-
In 1646 Doomer sailed via the Isle of Wight to reich. Nbib.). Doomer was himself a collector and
Nantes, where his brothers Maerten and Hendrik purchased items from the sale of Rembrandt's art
were living. From July to September 1646, together collection in 1658, including an album of draw-
with the Dutch landscape painter and draughts- ings by Roelandt Savery (now dispersed), some of
man Willem Schellinks, Doomer travelled along which he copied (e.g. Alpine Landscape; Berlin,
the Loire to northern France, visiting and record- Kupferstichkab.). He also copied drawings by
ing chateaux and towns such as Angers, Saumur, Jan Hackaert (e.g. The Glarnisch, 1692; Bremen,
Tours, Amboise and Orleans, as well as Dieppe and Ksthalle). Although some of these landscapes
Le Havre. Back in Amsterdam, Doomer led a finan- depict alpine mountains, Doomer apparently
cially secure life on the income of the factory run never visited Switzerland.
by one of his brothers. He made several journeys Doomer's achievements as an amateur painter
through the Netherlands (visiting Utrecht, are less important than his achievements as a
Enkhuizen, Arnhem and Nijmegen), and in draughtsman. He was inspired by such contempo-
1663 he travelled up the Rhine via Cleve, rary Amsterdam artists as Ferdinand Bol. There are
Mdnchengladbach and Cologne to Bingen. A year at least 25 surviving oil paintings by Doomer,
after his marriage in 1668 to Metje Harmens, he dating from c. 1644 to c. 1684, and there are ref-

moved to Alkmaar, where the house in which he erences to others in the artist's will, old invento-

lived still exists. From 1673 to 1681 he lived at the ries and in 18th- and 19th-century sale catalogue
mannengasthuis (old men's home) in Alkmaar, Some paintings, such as Farmhouse and Well
marrying his second wife, Geesje Esdras, in 1679. (Amsterdam, Rijksmus.) and Pont Neuf in Angers
In 1695 he returned to Amsterdam. (Paris, Louvre), are presumably based on topo-
Of the more than 300 drawings by him that graphical drawings; others, such as The Ford
have survived, most are topographical views of the (Strasbourg, Mus. B.-A.) and Shepherd Couple
Netherlands, France and Germany, executed with (Oldenburg, Landesmus.). seem to use individual
subtle watercolour washes and some white motifs from his sketches. Doomer copied
gouache over black chalk. Doomer is one of Rembrandt's portraits of his parents and produced
the most important and characteristic of Dutch group portraits, for example the Young Couple b\

topographical draughtsmen, comparable to a Globe (?i684; Burlington. U. VT, Fleming Mus .1.

Roelant Roghman, Willem Schellinks and Herman the Regentesses of the Proveniershuis at Alkmaar
Saftleven II. However, his drawings surpass those and the Regents of the Proveniershuis at Alkmaar
of his contemporaries in their special quality of (completed in 1680 and 1681 respectively:

atmosphere and in their pictorial and Romantic- both Alkmaar, Stedel. Mus.), for which a rare pre-

treatment of subject-matter. The topographical liminary study survives (Amsterdam. Chr. P. van
drawings are also interesting from a historical Eeghen priv. col., see Schulz, 1974. no. 43).

viewpoint, since they show the 17th-century Doomer's best work as a painter is Hannah and
appearance of buildings and monuments that no Samuel before Eli (1668; Orleans, Mus. B.-A.), with
longer exist, for example several castles on the its highly individualized, portrait-like depictions
Rhine destroyed by French troops in 1689. In later of the main characters. Doomer's portraits and
years Doomer made numerous copies of his own biblical pictures reveal his antiquarian interests,
90 Doomer, Lambert

for example in the figures' old-fashioned clothing. From an early age he was trained in his father's

His genre pictures and still-lifes, such as Still-life profession, first with the engraver Bartolomaus
with Thistles (1675; Copenhagen, Stat. Mus. Kst), Dolendo, then with the glazier Pieter

not only emphasize elements of still-life but, like Couwenhorn. Dou is mentioned in the records of

the Expulsion of the Prodigal Son (1695; Oelde, the Leiden glaziers' guild in 1625 and 1627, the
Egon Rusche priv. col., see Bernt, no. 342), also years in which he worked on a commission to
contain veiled sexual allusions. repair and make new windows for the church-
wardens of Oestgeest. On 14 February 1628 he was
Bibliography sent to Rembrandt to study painting. According to
H. van den Berg: 'Willem Schellinks en Lambert Doomer Orlers, Dou was an 'excellent master' by the time
in Frankrijk', Oudhdknd. Jb., xi (1942), pp. 1-31 he left Rembrandt's studio three years later, and
W. Schulz: 'Zur Frage von Lambert Doomers Aufenthalt in
work was widely admired. He was
his a founder-
der Schweiz", Z. Schweiz. Archaol. & Kstgesch., xxvii
member of the Leiden Guild of St Luke and served
(1970), pp. 5-20
— : 'Doomer and Savery', Master Drgs, ix (1971), pp.

(va en drager)


the local militia
of his elevated
253-9. pis 28-43
— : Lambert Doomer. 1624-1700: Leben und Werke, 2 vols
social status and his bachelorhood. He died a

(diss.. Free U. Berlin, 1972) wealthy man and was buried in the St Pieterskerk.
— : Lambert Doomer: Samtliche Zeichnungen, (Berlin. In the 1630s Dou painted three types of picture:
1974); review by P. Schatborn in Simiolus, ix (1974). tronies (uncommissioned physiognomic studies),

PP- 48-55 portraits and single, full-length figures. Tronies

— : 'Zu einigen Zeichnungen des Rembrandt-Schulers were popular in Rembrandt's Leiden circle, and
Lambert Doomer in den Staatlichen Museen zu Berlin',
the same elderly models who posed for Dou, often
Forsch. & Ber. Staat. Mus. Berlin, xvii (1976), pp. 73-95
were also depicted by Rembrandt
— : 'Lambert Doomer als Maler', Oud-Holland, lxxxii
in exotic dress,

and Jan Lievens. Portraits, which comprise most

(1978), pp. 69-105
of Dou's early work, were an essential source of
W. Bernt: Die niederlanderischen Maler (Munich, 1979)
WOLFGANG SCHULZ income for many artists and may have been so for

Dou, at least initially. His sitters are usually shown

in half- or three-quarter length, conservatively
dressed and, for the most part, lacking animation.
Dou, Gerrit [Gerard] The third type of picture featured figures absorbed
(b Leiden, 7 April 1613; d Leiden, burg Feb 1675). in or distracted from their everyday activities. His

Dutch painter. The first and most famous member earliest dated painting, the Young Violinist (1637;
of the group of artists referred to as the Leiden Edinburgh, N.G.), is an example of this type.

'fine' painters, he specialized in small-format The thinly and finely painted surface, the preva-
paintings, the details and surfaces of which are lence of meticulously observed and rendered
carefully observed and meticulously rendered. He still-life objects of various materials, the subtle
was greatly praised as a painter of artificial light chiaroscuro and interest in light reflections and
by Samuel van Hoogstraten in 1678, and he was effects and the arrested movement are character-
responsible for popularizing both the night scene istic of Dou's early style.
and the 'niche' format, pictorial devices ulti- By the mid-i640S Dou was painting fewer por-
mately derived from the art of his famous master, traits while enlarging his genre repertory. The
Rembrandt. Dou used them in images of ordinary signed and dated Village Grocer (1647; Paris,

people ostensibly engaged in mundane activities. Louvre) marks the change. The large number of
figures in this painting is unusual for Dou,
7. Life and work whereas the inclusion of accumulated still-life

Dou was the youngest son of a glazier who prob- accessories is common in his art. He also

ably belonged to the Dutch Reformed Church. introduced the so-called 'niche' format into his
Dou, Cerrit 91

painting, a device previously reserved almost by symbolically separating the deceptively natu-
exclusively for portraiture. In this favoured ralistic figures and action from the real world.

format, figures and objects are placed beyond the Dou's tendency to place equal emphasis on all the
framing arch of a trompe-l'oeil window, giving the elements in his paintings is in striking contrast to

artist an opportunity to display his skills of illu- the more unified narrative and integrated atmos-
sionism and providing a simple aid to spatial orga- phere presented in the contemporary genre scenes
nization: the window ledge functions both to of Gerard ter Borch (ii), Pieter de Hooch and
establish the foreground plane, opening up the Johannes Vermeer. By the late 1650s Dou had
pictorial space behind, and to support objects that developed his interest in light effects by translat-
seem to project forward into the viewer's space ing two types of subject-matter into night scenes:
(see fig. 14). artificially-lit genre scenes and, more commonly,
From the early 1650s Dou's paintings attain a single female figures standing at a window,
certain monumentality. His figures become larger peering into darkness and illuminated only by a
in scale, his choice and arrangement of still-life candle or lantern. His Woman Laying a Table
objects more judicious. In such works as The (Frankfurt am Main, Stadel. Kstinst.) is an exercise
Doctor (1653; Vienna, Ksthist. Mus.; see col. pi. XI) in virtuosity in which a lantern, a candle and a
or the Woman with a Basket (1657; Waddesdon fire are depicted together, each throwing light in
Manor, Bucks, NT) he meticulously rendered the its characteristic way.

frozen attitude of a figure in its environment, the Two further types of subject-matter were intro-
surface qualities of varied materials and the duced in his paintings of the 1660s. First, he
descriptive properties of light. A painted curtain decorated the shutters designed to protect his

draped across the picture functions like the niche paintings from dust and strong light with still-life

paintings, only a few of which survive. They are

known as bedriegertjes (scenes populated with
illusionistically-rendered objects meant to deceive

the eye). In the Still-life (Dresden, Gemaldegal. Alte

Meister) that once protected a night scene set in
a cellar, the emphatically tangible objects, some
of which seem to spill out into the spectator's
space, are placed in a niche. As in his genre scenes,
an illusionistic curtain in front of the niche refers
to the actual practice of using curtains to protect

paintings and heightens the trompe-l'oeil effect ot

the image (see fig. 15). Secondly, he explored the

possibilities of depicting the nude. As the subject

of an independent painting, the nude was rare m

the north in the 17th century and was usually
restricted to drawings, prints and a lew history
paintings. The four known nudes by Hon (three m
St Petersburg, Hermitage; one in The Hague,
Rijksdiensi Beeld. Kst.i are unidealized ami unclas-

sit al. there are no attributes to identify them as

specificpersonages or personifications, doi are

they engaged in a particular activity. Dou's last
dated works are trom \u~i In his kite Style, exem-

14. Gerrit Dou: Woman Hanging a Rooster from plified by The Dentist (Dresden, Gemaldegal. Alte
Window Meister), the still-life objects are masterfully
(Paris, Musee du Louvre)
92 Dou, Gerrit

vanitas depictions, which emphasize the transi-

toriness of earthly life, in keeping with the strong
tradition for such themes in Leiden. Yetsome of
Dou's paintings are iconographically more
complex: for example, his famous Triptych (known
through a copy by William Joseph Laquy,
Amsterdam, Rijkmus.), which came to be known
as The Nursery, has been interpreted as repre-
senting Aristotle's three stages of learning-
nature, teaching and practice. He also used the
still-lifes on the shutters of his paintings to

comment on or add to the meaning of the picture

inside. The visual richness of his imagery and the
possibilities of multi-layered interpretation must
have played a large part in the appeal of his paint-
ings to contemporary audiences.

3. Working methods and technique

Sandrart, with Pieter van Laer, visited Dou c. 1639,
but his description of his studio and his working
method included in the Teutsche Academic
written some 35 years later, is suspect. In it he
15. Gerrit Dou: The Dropsical Wo Musee
claimed that Dou needed eyeglasses from the age
du Louvre)
of 30 and took days to paint the smallest detail;
that he was extremely fastidious concerning his
painted, but the last few paintings lack Dou's tools, materials and working conditions; and that
earlier microscopic detail, and the overall finish he was a failed portrait painter because of his slow
tends to be hard. working method.
Dou worked on oak panels, usually of small
2. Symbolism and meaning dimensions and often prepared with a warm,
Dou's paintings depict the everyday life of the reddish-brown ground. The palette in his earliest
Dutch bourgeoisie, without the obvious pic- works consists of aqua, lilac, rose and green, with
turesque trappings of a rustic or theatrical nature. the gradual introduction of gold. These colours,
Many of the popular images that he created and applied in thin glazes, and the enveloping
developed, however, contain veiled symbolism, chiaroscuro echo those in Rembrandt's Leiden
usually derived from traditional moralizing or paintings. By the mid-i640S Dou had changed to

didactic themes, allowing them to be read on saturated golds, reds and blues, although he still

more than one level. In keeping with the rhetori- frequently retained the warm chiaroscuro learnt
cal character of Dutch representations of artists in Rembrandt's studio. His last paintings are
in the 17th century, Dou presented himself as marked by strong local colour and by a more
teacher and admonisher in his Self-portrait roughly painted surface, particularly in the skin
Aged Fifty (1663; Kansas City, MO, Nelson-Atkins and clothing.
Mus. A.). The Old Woman Peeling Apples (Berlin, Only a few drawings have been attributed,
Gemaldegal.), surrounded by attributes of her somewhat controversially, to Dou, who apparently,
domestic industry, can be seen as the exemplar of unlike his master and many of his contemporaries,
the pious and virtuous life. The objects in the Still- did not use them regularly as part of the prepara-
life in Dresden are primarily associated with tory process. Sumowski has identified what he
Dou, Cerrit 93

believes to be a rare preliminary sketch in pencil the paintings given by the Dutch were exhibited
(England, priv. Sumowski, 1980, no. 531)
col., see at Whitehall, London, Charles singled out Dou.
for the painting of the Venison Shop (London, Titian and Elsheimer for praise. Dou's painting
N.G.) and an autograph copy in red and white skills impressed Charles so much that he invited
chalk (Paris, Louvre) after a lost picture of a the artist to his court; Dou, however, chose to
Woman Cooking Sausages, which, according to remain in Leiden. Visits to Dou's studio by such
the inscription of the drawing's verso, was sent foreign scholars and aristocrats as the Dane Ole
to the Elector of Mainz in 1650. The few drawings Borch (1662), the Frenchman Balthasar de
surely by the artist are independent portrait Monconys (1663) and Cosimo III de' Medici (1669)

studies, such as the signed and dated Portrait of are further indications of his popularity. In addi-
the Artist's Mother (1638; Paris, Louvre) and the tion, a painting by Dou appeared in the inventory
signed and dated portrait of 'Anne Spiering (1660; of 1662 of the Archduke Leopold William of
priv. col., see Sumowksi, 1980, no. 530). Austria, who had been Governor of the
The precise role played by pupils in Dou's Netherlands from 1646 to 1656.
studio practice is not known, but from as early as Dou was no less highly regarded at home. In
1645 he attracted a large number of students, July 1669 the Burgomasters of Leiden commis-
among them his nephew Domenicus van Tol, Rans sioned a painting by Dou. 'whose art was famous
van Mieris (i), Pieter van Slingeland, Godfried and held in great esteem'; the commission was
Schalken and possibly Gabriel Metsu. later withdrawn, however. Eleven paintings by
Dou appeared in the collection of Francois de la

4. Critical reception and posthumous reputation Boe Sylvius, professor of chemistry and medical
Dou's ability as a painter was recognized early in science at Leiden University, on his death in 1672.
his career. In Angel's address to the artists of Dou's greatest patron in the second halt ol his

Leiden in 1641, published the following year, career was Johan de Bye. a prominent Leiden
Dou's painting style was held up as a paradigm to citizen and pious Remonstrant. De Monconys.
his fellow painters. He was also lauded as a con- who visited de Bye during his Leiden sojourn,
temporary artist who, like the great masters of saw there 'a large quantity of paintings by Dou'.

antiquity, had a patron (Pieter Spiering) willing On 18 September 1665 de Bye exhibited 27 of his

to pay handsomely for the right of first refusal to paintings by Dou. representing all types ol subject-

his paintings. Spiering (d 1652) was the son of matter from every phase of Don's career
the most important tapestry manufacturer in Dou's students and followers varied m talent

Delft and was Swedish minister to The Hague and in what they look from their master. Van
from the mid-i630s to his death. He ostensibly Mieris. whom Dou considered the prune of his
bought Dou's paintings for Queen Christina, but pupils, derived Ins style from Dou ami even ampli-

the works were clearly more to Spiering's taste fied Dou's polished sulfate finish. Pieter v.m

for the finished than to Christina's taste for Slingeland was primarily interested in Don's

the Italianate. Dou charged for his paintings subject-matter; van Tol was content merely 10

at the rate of one Flemish pound per hour. repeat and imitate his compositions; and St halken

According to Sandrart, his small paintings sold single-mindedly pursued one aspect of Don's work,

for the then substantial price of 600-1000 Dutch the candlelight scenes Moreover, the work ol

guilders. many minor Leiden artists, example [acob


Dou's fame was international by 1660. When van Spreeuwen (0 l66l) and Jan Adnaens/ \,\n
the Dutch States General decided to make a gift Staveren (< 1625 after 1668), reveals the influence

to Charles II on his accession to the English ot Dou. although there is no evidence that they

throne, Dou was appointed an appraiser for t In- worked directly with him. I in popularity of

states and, in addition, the States acquired three Don's pictures, ret letted in market prices, the

new monarch. When demand of collectors and the influence ot his

paintings from him for the
94 Dou, Cerrit

style, pictorial devices and subject-matter contin- Portrait of a Man (New York, Met.) and the Portrait
ued to grow well into the 19th century. of a Woman (The Hague, Mus. Bredius). The man's
portrait is signed Wilhelmus Drost F./ Amsterdam
Bibliography 1653; the form of the first name implies that he
J. Orlers: Beschrijvinge der stadt Leyden (2, Leiden, 1641) was of German descent.
P. Angel: Lof der schilder-konst (Leiden, 1642//? Utrecht, The painting of Bathsheba with Daniel's Letter
1969, facs. Amsterdam, 1972), p. 56
(Paris, Louvre), signed and dated Drost F. 1654, is
J. von Sandrart: Teutsche Academie 1675-9); ed. A. 1 R.
considered to be his masterpiece, with its subtle
Peltzer 1 19251. pp. 195-6
palette of soft flesh tones harmonizing with the
S. van Hoogstraten: Inleyding tot de hooge schoole der
varying shades of white and grey in which the
schilderkonst, anders de zichtbaere werelt
[Introduction to the academy of painting, or the cloth and the fur are splendidly rendered. Dating

visible world) (Rotterdam, 1678//? Soest. 1969. Ann from the same period is his Portrait of a Young
Arbor, 1980), pp. 262, 268 Woman (London, Wallace), which bears the false
J. Smith: A Catalogue Raisonne of the Works of the Most signature Rembrandt ft. Two works of contrasting
Eminent Dutch. Flemish and French Painters, i
styles are also dated 1654: the Portrait of a Woman
(London. 1829). and suppl. (1842) with a Fan (Zurich, E. Haab-Escher priv. col.) and
\\ Martin: Her leven en de werken van Gerrit Dou Woman
the with a Knife in a Window (ex-Brod
beschouwd met het schildersleven van zijn tijd
Gal., London). The former is polished and detailed;
(Leiden. 1901); abridged Eng. trans, by C. Bell (London,
the second is executed in a much looser manner
1902); expanded Fr. trans, by L. Dimier (Paris, 1911)
with broad brushstrokes. These paintings show
C. Hofstede de Groot: Hollandischen Maler, i (1907)
W, Martin: Gerard Dou. Klass. Kst Gesamtausgaben not only Drost's ability to paint in these two dif-

(Stuttgart and Berlin, 19131 ferent traditional ways but also his participation
A. Wheelock jr: 'A Reappraisal of Gerard Dou's in the stylistic debate topical around 1650: many
Reputation', The William A. Clark Collection of Rembrandt's pupils were faced with the choice
(Washington, DC. 19781, pp. 60-67 of continuing to paint in the broad virtuoso
W. Sumowski: Drawings of the Rembrandt School, iii
manner of their master or adopting a smoother,
(New York, 1980)
more up-to-date style. For commissioned works
— : Gemalde der Rembrandtschuler. i (Landau, 1983)
such as portraits the smoother style was usually
Leidse fijnschilders: Van Gerrit Dou tot Frans van Mieris
dejonge. 1630-1760 (exh.
chosen, as Drost did in the Portrait of a Woman
cat., ed. E. J. Sluijter and
others: Leiden, Stedel. Mus. Lakenhal, 1988)
of 1654, whereas the Woman with a Knife of the

De Hollandse fijnschilders: Van Gerard Dou tot Adriaen

same year is a more freely painted genre scene.

van der Werff(exh. cat. by P. Hecht, Amsterdam. After 1660 Drost changed definitely to the elegant,
Rijksmus.. 1989) polished style of, for example, Nicolaes Maes,
R. Baer: The Paintings of Gerrit Dou (diss.. New York, Inst. evident from his only dated work of this period,
FA., 19901 the portrait of Hillegonda van Beuningen (1663;
RONNI BAER The Netherlands, priv. col.). Around 1662 Drost
must have been in Italy, where, according to

Houbraken, he became friends with Jan van der

Drost, Willem Meer of Utrecht (c. 1640-after 1691) and Johann
(£> ?Germany, c. 1630; d ?Amsterdam, after 1680). Carl Loth; Drost's Self-portrait [c. 1662; Florence,
Dutch painter, draughtsman and printmaker, pos- Uffizi) is manner of
in the Loth, with heavy
sibly of German origin. According to Houbraken, shadows and warm brown and red tones.
he was a pupil of Rembrandt, possibly in or shortly Apart from portraits and a few half-length
before 1650. An early etching signed w drost 1652 figures in historical costume, such as the Man
is probably a self-portrait, in which Drost por- in a Cuirass (Kassel, Schloss WilhelmshOhe),
trayed himself as a young man drawing. His ear- Drost painted mainly biblical scenes with full-

liest dated paintings are two pendants of 1653: the length figures: a Noli me tangere (Kassel. Schloss
Du Jardin, Karel 95

Wilhelmshohe); the Young Daniel (Copenhagen, evidence for this other than a similarity in subject-
Stat. Mus. Kst); the Virgin Annunciate (Prague, matter. Pieter van Laer and Paulus Potter have also
N.G., Sternberk Pal.); and Ruth and Naomi (Oxford, been mentioned as teachers, but again this is

Ashmolean), the only painting for which there is sheer supposition. Du Jardin may have received
a directly connected preparatory drawing early stimulus from his brother-in-law, Johannes
(Bremen, Ksthalle). On stylistic grounds another Pauwelsz. Schors, a painter from Augsburg and
45 or so pen and ink drawings have been attrib- husband of Du Jardin's half-sister Tryntje, about
uted to Drost, all characterized by profuse and whom nothing is known. More directly relevant is

remarkably even hatching. Du Jardin's second cousin, the portrait painter

The reconstruction of Drost's painted and Pieter Nason. There is no evidence confirming that
drawn oeuvre by Sumowski (1980 and 1983) does they knew each other, but ties between the Du
not yet seem complete. A number of history paint- Jardin and Nason families were strong. If Du Jardin
ings with large figures depicting biblical subjects, did not study with Nason, he may at least haw
previously ascribed to Rembrandt, are apparently been exposed by him to the rudiments of the craft.

(or may yet prove to be) by Drost. If the attribu- Dujardin is best known for the Italianate land-

tion to Drost of Manoah's Sacrifice (Dresden, scapes he painted throughout his career. It has
Gemaldegal. Alte Meister), which bears the false been presumed on the basis of his subject-matter

signature of Rembrandt f. 1641, is accepted, then that he travelled to Italy in the 1640s, yet no prool
the basis for the attribution of similar works may for such a trip exists. He probably travelled to

be formed. France as a merchant in 1650. an idea supported

both by a document and a drawing signed
Bibliography Dujardin fecit Pahs (Berlin. Kupferstichkab 1

A. Houbraken: De groote schouburgh (1718-21), iii, p. 61 Du Jardin met his wife, Suzanne van Royen. in
D. Pont: 'De composities "Ruth en Naomi" te Bremen en te Lyon. They were living on the Rozengracht in
Oxford: Toeschrijving aan Willem Drost', Oud-Holland. Amsterdam by 1652, when Du Jardin made his
lxxv (i960), pp. 205-21
will. Still in Amsterdam in 1655, by October 1656
W. Sumowski: Drawings of the Rembrandt School, iii (New
Du Jardin had moved to The Hague, when- he
York, 1980), nos 546-69
— : Gemalde der Rembrandtschiiler, i (Landau, 1983), pp.
a founder-member
confraternity. He appears
ot De
the confra-

608-51; review by J. Bruyn in Oud-Holland, xcviii

153-8 ternity's records of 1657 and 1658, at which time

(1984), pp.

BROOS his probable first pupil. Martinus Iaeekman. is

B. P. J.
Characteristic paintings by Du |ardin of the
1650s, such as the Landscape with Waterfall and
Du Jardin [Dujardin; Du Gardijn], Karel Resting Animals nc^s: Paris, Louvre) or Rum
[Carel] Animals in the Shade ot .1 lice with .1 Boy and a

(bAmsterdam, 27 Sept 1626; d Venice, before 9 Oct Sleeping Herdswoman (1656; London, m. |,
1678). Dutch painter, etcher and draughtsman a Strong debt to PaulUS Potter's paintings ot

His father was Chaarles de Jardin (Gardyn; c animals rendered with meat precision ^\nd natu-

1599-before 1650), a fat-renderer, and his mother ralism. Du fardin's small, simply constructed
was Catalyn Borchout (1588-before 1650). The) scenes ot herders and cattle retting m meadows
had at least one other child, Herbert, who must or travelling through the landscape and travellers

have died by 1651 and about whom nothing is halting at an inn are marked by retined detail and

known. brighl colours with a sensitive- interpretation ot

Du Jardin's artistic training remains a mysterj lighl and shade.

From Houbraken on he is described as Nicolaes Dujardin made a number of drawings, mainly

Berchem's ablest pupil, although there is no studies in chalk of cattle, sheep and other

96 Du Jardin, Karel

animals, as well as a few red chalk portraits (e.g. worth of some of the paintings.) Reynst and Du
Self-portrait, 1659: London, BM| and a series of Jardin stopped in Tangiers in October 1675. and.
Italianate landscape drawings, mostly in brush although Reynst returned to the Netherlands. Du
and wash. The View of the Piazza di S Maria Jardin continued his journey to Rome, where he
Maggiore. Rome 1 Paris. Fond. Custodia. Inst. Neer.i signed and dated his Landscape with Herders and
is dated 1653. suggesting that it was copied from Animals (1675: Antwerp. Kon. Mus. S. Ks;

either a print or another artist's drawing, since number of late landscapes grouped around this
Du Jardin was back in Amsterdam by 1651. Du painting reveal a drastic change in style. He aban-
Jardin's activity as an etcher also dates from the doned his large figure types, replacing them with
1650s. In 1653 he published a series of prints of small, agitated figures situated in large Italian
resting animals, shepherds and related pastoral riverside settings: his brilliant, creamy technique
motifs. Despite the Italianate settings, his etchings and light, clear tonalities gave way to dark, smoky
appear to have been made in the Netherlands and colours with rougher brushwork. harsher con-
are close in conception to Pieter van Laer's inno- trasts and fewer highlights. Though definitive
vative series of 1636. About 50 etchings by Du proof that Du Jardin joined the Schildersbent. the
Jardin are known. Netherlandish artists' society founded in Rome in
By May 1659 Du Jardin was again back in 1623. is lacking, like other members he was given
Amsterdam, where he is documented in 1670. 16-1 the nickname 'Bokkebaard' (Dut.: 'goatbeard'i. He
and 16-4. During the 1660s he continued to paint came into contact with the classicizing Dutch
Italianate landscapes but also painted portraits of painter Johannes Glauber. Works dated 1675. 1676
important members of Amsterdam society, such as and 1678 attest to Du Jardin's productivity in
the Regents of the Spinhuis and the Sieuwe Rome, where he painted his last known work, the
Werkhuis (1669: Amsterdam. Rijksmus.i. as well as Riding School (1678: Dublin. N.Gi.
a number of remarkable history paintings. These Du Jardin achieved a measure of fame in his
large, impressive works (e.g. the Conversion of own day: he was praised by Cornelis de Bie. and
St Paul. 1662: London. N.G.i reflect the artist's his small, multi-figured scene of Calvary 11662;

response to the stylistic innovations of the Paris. Louvre) was lauded in a poem by the leading
Amsterdam Town Hall commissions of the 1650s. Dutch poet. Jan Yos. Du Jardin also designed the
particularly the introduction of Flemish and clas- portrait frontispiece to the collected edition 1662 1

sicizing elements. They also bear witness to Du ofVos's poetry. Besides Laeckman. Du Jardin's only
Jardin's awareness of Italian Baroque paintings by other recorded pupil was Erick Wilke (or Van der
such artists as Guido Reni. The spectacular Hagar Weerelti. an orphan under the care of the Civil
and Ishmael (c. 1665-7: Sarasota. FL. Ringling Mus. Orphanage in Amsterdam. He went to study with
A.i displays Du Jardin's command of large-scale, Du Jardin in Amsterdam in March 1668 for the fee

dynamic yet stable compositional formulae and of 80 guilders a year.

his ability to render imposing figures convincingly
with sensitive physiognomies. He used cool, mod- Bibliography

ulated tonalities to create smooth surfaces and Hollstein: Dut. & Hem.
brilliant fabrics. A. Houbraken: De groote schouburgh (1718-211. ii.

pp. 85. 112. 214, 277 - -61.
In 1675 Du Jardin sailed to Italy from Texel
Island accompanied by Joan Reynst. whose father,
C. Hofstede de Groot: Verzeichnis 11907-281. ix. pp.
a member of Amsterdam's patriciate, had assem-
bled one of the most important collections
E. Brochhagen: Dujardins spate Landschaften'. Bull. Sfus.
of Venetian 16th-century painting in the Royau.x B.-A. Belgiqu*. 236-55
57 pp.
Netherlands. (Du Jardin probably knew the Reynst — : Karel Dujardin: Ein Behrag zum Jtalianismus in
collection, for in 1672 he was a witness in a legal Holland im 17. Jahrhundert (diss.. U. Cologne.
proceeding concerning the authenticity and 19581
Dusart, Cornells 97

Nederlandse i7e eeuwse Italianiserende landschap-

schilders [Dutch 17th-century Italianate landscape

painters] (exh. cat., ed. A. Blankert; Utrecht, Cent.

Mus., 1965//? 1978)


Dusart [du Sart], Cornelis

(b Haarlem, 24 April 1660; d Haarlem, 1 Oct 1704).
Dutch painter, draughtsman and printmaker. He
was the son of the organist at St Bavo in Haarlem
and one of the last pupils of Adriaen van Ostade.
He became a member of the Haarlem Guild of
St Luke on 10 January 1679 and served as its dean
in 1692. Dated pictures by Dusart have survived
from almost every year between 1679 and 1702.
Two of his earliest pictures of peasants relied
heavily on compositions by van Ostade: Mother
and Child (1679; Dresden, Gemaldegal. Alte
Meister) and Woman Selling Milk (1679; sold
Amsterdam, Muller, 16 Oct 1928, lot 9; the
16. Cornelis Dusart: Peasants outside an /mi. 1681
original drawing by van Ostade is in Paris,
(Vienna. Kunsthistorisches Museumi
Fond. Custodia, Inst. Neer., see Schnackenburg,
1981, no. 132).
Over the next few years Dusart remained one Cornelis Bega, examples ol whose prints were
of his teacher's closest followers, and in Peasants owned by Dusart. Dusart used lighter and more
outside an Inn (Vienna, Ksthist. Mus.; see fig. 16) varied colours, the intense light blue, vellow and
and Farm with a Donkey (St Petersburg, red of the costumes predominating over the tonal-
Hermitage), both dated 1681, the only distin- ity of the surrounding space (as in the Rrpe
guishing feature is Dusart's more delicate repre- Smoker, 1684; USA. priv. col., see 1984 exh cat.,

sentation of foliage. Shortly after, works such as no. 41), which does not achieve the sensitivity ^\m.\

Siblings with a Car (1682 or 1683; Nijmegen, Esser atmospheric density ol win Ostade's work.
priv. col., see Trautscholdt, fig. 8) reveal Jan Steen Alter van Ostade's death in 1685, Dusart took

as another source of inspiration. With Steen as over the contents of his studio. Among the works

his model, Dusart developed figure types whose lei 1 behind were unfinished paintings by Adriaen
faces are expressive to the point of grimacing and van Ostade, some oi which Dusart completed
who make exaggerated movements and wear fan- Peasant Festivity, ihe Hague, Mauritshuis), ^\nd

tastic clothing (e.g. Dance outside the Inn, 1684; paintings by Adriaen's brother van Ostade,
Haarlem, Frans Halsmus.). Dusart's figures are who had died . (649 1 hi- material influenced

often aggressively ugly, as in St Nicholas 's Dusart profoundly, so that in Quarrel over a Card-
Day (1685; Basle, Dr T. Christ priv. col. game (1697; Dresden, Germ&ldegal Alte Meister),

Trautscholdt, fig. 10). His forte was not so much for instance, the figures resemble those ol Steen.

comedy as broad farce, and it is doubtful thai hut the composition is based on a drawing by
there was any moralizing purpose in his depic- Adriaen win Ostade called the kmtc Fight ( Paris.

tions of vice. A graphic scene entitled Drunken Ecole V Sup. B.-A.l. Dusart also made e\.u t copies

Woman in a Brothel (1699; sold Goteborg, 9 Nov ol paintings in Adriaen van Ostade (sold Vienna,

1977, lot 1716 with illus.) reveals the influence <>t Dorotheum, 10 Sept 1959, lot ?s with illus.). He
98 Dusart, Cornells

also seems to have either completed or adapted paintings, drawings and prints by Italian and
some of Steen's oil paintings. Important late paint- Dutch artists including Bega, Gerrit Berckheyde
ings include turbulent pictures of fairs with a and Adriaen van de Velde. His estate was auctioned
wealth of figures, such as Village Kermesse (1697; in Haarlem on 21 August 1708.
sold Amsterdam, Muller, 4-5 Dec 1912, lot 179 with
illus.) and the Quack Doctor (1702; Bremen, Bibliography

Ksthalle). Benezit; Hollstein: Dut. & Flem:, Thieme-Becker

Cornells Dusart was an immensely productive A. Bredius: Kunstler-Inventare, i (The Hague, 1915),

and versatile draughtsman. His most original PP- 27-73

J. Q..
van Regteren Altena: 'De voorvaderen van Cornells
works are drawn from life in
his figure studies
Dusart', Oud-Holland. lxi (1946), pp. 130-33
black and red some with watercolour
E. Trautscholdt: 'Beitrage zu Cornells Dusart'. Ned.
washes (e.g. Seated Boy Reading-, Amsterdam,
Ksthist. Jb., xvii (1966), pp. 171-200
Rijksmus.) and some on coloured paper and parch- O. Naumann: Netherlandish Artists. 7 [v/ii] of The
ment. Not surprisingly, Dusart also adopted the Illustrated Bartsch, ed. W. Strauss (New York, 1978),
drawing techniques of the van Ostade workshop. pp. 288-325
Dusart's numerous pen-and-ink drawings, among B. Schnackenburg: Adriaen van Ostade, Isack van Ostade.
the best of which were his preparatory studies for Zeichnungen und Aquarelle, i (Hamburg, 1981),

prints, often have a distinctive and boldly applied pp. 60-64

Dutch Figure Drawings from the Seventeenth Century
dark brown wash background. Dusart made
(exh. cat. by P. Schatborn; Amsterdam, Rijksmus.;
skilful and systematic use of the stock of drawings
Washington, DC, N.G.A.; 1981-2), pp. 110-12
the van Ostades left behind, either by copying
Dutch Prints of Daily Life: Mirrors of Life or Masks of
them or by expanding brief sketches into finished
Moral? {exh. cat. by L. Stone-Ferrier. Lawrence, U. KS,
works; in the process he emulated exactly Spencer Mus. A., 1983)
Adriaen's and Isaack's style and stages of devel- Masters of Seventeenth-century Dutch Genre Painting
opment. Dusart frequently copied the preliminary (exh. cat., ed. P. Sutton; Philadelphia, Mus. A.; London,
drawings before reworking the pictures. He also RA; W. Berlin. Gemaldegal.: 1984), cat. no. 41

used Steen's figure style, leading scholars to B. SCHNACKENBURG

attribute certain drawings to Steen himself.
Dusart's extensive graphic oeuvre consists of
some 119 etchings and mezzotint engravings. An Duyster, Willem (Cornelisz.)
early group of 12 etchings is dated 1685, the year (b Amsterdam, bapt 30 Aug 1599; d Amsterdam,
in which Dusart completed his first mezzotints. bur 31 Jan 1635). Dutch painter. Duyster was the
There are such series as the Months, the Ages of eldest of four children of Cornells Dircksz. and
Man, the Five Senses etc, as well as individual his second wife, Hendrikge Jeronimus, from
sheets depicting scenes of peasant life. Some of Gramsberge, Norway. His father is recorded as a
the preparatory drawings were provided by Jacob textile cutter, house carpenter and minor
Gole of Amsterdam, who also acted as publisher. Amsterdam official. In 1620 the family, which also
In his prints Dusart vividly expressed the satirical included two children from Cornelis's first mar-
side of his art, reflecting the popular theatre of riage, moved into a house in the Koningstraat
the Society of Rhetoricians. Dusart's graphic work named 'De Duystere Werelt' (The Dark World'),
was his most influential contribution to Dutch which gave Duyster and his half-brother Dirck
art, especially in its impact on caricature. their adopted surname. The family name first

Dusart remained unmarried and apparently appears in a document dated 1 July 1625 con-
suffered from a weak constitution. The inventory cerning a violent quarrel between Duyster and
in his will, dated December 1704, included not Pieter Codde, a fellow Amsterdam artist. The argu-
only his own works and the residue of the van ment took place at Meerhuysen, a country house
Ostade estate but also a remarkable collection of rented by Barent van Someren (c. 1572-1632), the
Duyster, Willem 99

painter, dealer and inn-keeper who was a patron While most of his interiors are quite plain,

of Adriaen Brouwer and a good friend of Frans shadows, angles of walls or openings into sub-
Hals. sidiary spaces are often used to create an abstract

An inventory from 16 October 1631, taken after counterpoint of light and shadow against which
the death of Duyster's parents, testifies that the the figures are set. The play of tonal values against
family was financially comfortable and lists rich, dark colour accents in his early works, par-
several anonymous paintings, mainly of popular ticularly his genre portraits, shows the influence
biblical and mythological subjects. Although of Amsterdam portrait painters of the 1620s. such
Duyster appears to have been living in the family as Thomas de Keyser. His later works have quieter
house at the time the inventory was taken, no tonal harmonies, though they are almost a.

mention is made of a studio or any of his works. reinforced with strong colour areas.
In September 1631 he married Margrieta Kick, Only three extant works ascribed to Duyster are

a cousin of the Haarlem painters Jan and Salomon dated: Portrait of a Man 1162-; Amsterdam.
de Bray The double wedding ceremony also united Rijksmus.), Portrait of a Woman (1629: Amsterdam.
Margrieta's younger brother, the Amsterdam Rijksmus.) and Officer and Soldiers I1632. Dublin.

genre painter Simon Kick 1603-52), and Duyster's

1 N.G.). His Soldiers beside a Fireplace (1632; ex-

youngest sister, Styntge. Eventually each couple Werner Dahl priv. col.. Dusseldorf) is probably a
came to live in 'De Duystere Werelt'. copy after two authentic versions (Philadelphia. PA.
Bredius suggested that Duyster studied under Mus. A.. John G. Johnson Art Col.: St Petersburg.

Pieter Codde. but this is unlikely, since the artists Hermitage). A lost portrait, dated 1628, of Joseph
were exact contemporaries. It is more probable del Medico, the noted Jewish physician and writer,

that either Barent van Someren or the portrait isknown through an engraving after the original
painter and collector Cornells van der Voort bv Willem Delff. No pupils of Duyster are known:
(c. 1576-1624) taught them both. his closest direct follower was the little-known

Duyster's limited oeuvre includes genre scenes painter Daniel Cletcher (d 1632). who worked in

and portraits. Together with Codde he helped to The Hague. Duyster died of the plague that swept
develop and popularize the interior soldier scene. through the Netherlands in early 1635.

His Cortegaerdjes (guardroom pieces), which are

often characterized by an underlying psychologi- Bibliography
Hollstein: Dut. & Flem.: Thieme-Becker: Wurebach
cal tension, include depictions of soldiers looting,
Angel: Lofder schilderconst (Leiden. 1642 R 1969I. P 55
taking hostages or skirmishing among themselves. P.

A. Houbraken: De groote schoubur^

More frequently, the quieter side of military life
is illustrated, with soldiers smoking, gaming,
A. Bredius: lets over Pieter Codde en Willem Duj
making music, dancing or romancing. These activ-
Oud-Holland. vi 11888). pp. ll

ities are also depicted in his merry company H. F. Wijnman: De h der Willem
scenes, set in stable, barn or inn interiors. Signed Cornelisz. DuystH
or attributed portraits are rare. C. B. Plavter Willem Duyster and / < rtte

Duyster's paintings are on a small scale with Duvstere werelt' of Dutch Genre Painting. C 1625-35

full-length figures and are carefully detailed.

Tot taring en pern
Angel (1642) particularly praised his skill at paint-

ing silks. In both subject-matter and style his

and pleasure: nu
works are similar to those of Pieter Codde. and other*.
the 17th centurv
However, Duyster's are more innovative in terms erdam. Mjksi
of compositional effects, format and iconography. •

He experimented successfully with artificial light tton and others: Philadelphia

effects (especially evident in his nocturnal pieces), Berlin. Gemaldegal : Londo-

handling of space and unusual angles of vision. PRATH

100 Eeckhout, Albert

Eckhout, Albert surviving tapestry series woven after 'Les anci-

\b Groningen, c. 1610; d Groningen. 16661. Dutch ennes Indes' (e.g. Amsterdam, Rijksmus.: Valletta,
painter and draughtsman. Eckhout and Frans Post Pal. Grand Masters) testify to the popularity of
were the two most important artists who travelled these representations. At Maurits's recommenda-
to Brazil in 1637 in the entourage of the newly tion, Eckhout entered the service of John-
appointed governor-general, Johan Maurits, Count George I, Prince-Elector of Saxony, in 1653. and he
of Nassau-Siegen. on whose initiative Eckhout was remained in Dresden for the next ten years. His

assigned to paint people, plants and animals as most important commission was for the ceiling
part of a scientific study of the country. Eckhout's decorations in the Hoffldssnitz hunting lodge, for
studies are characterized by an objectivity that is which he used his Brazilian studies or drew from
sober, direct and without artistic embellishment. memory. During this period he also made a series

In 1644 Johan Maurits. nicknamed "the Brazilian*, of large oil paintings of exotic, mainly Asiatic
returned to the Netherlands where he published peoples (Schwedt. Schloss). In 1663 he returned to
the collected scientific material as Histoha natu- Groningen, where he was awarded citizenship.
ralis Brasiliae 1 1648). He also used this material as
a diplomatic tool: in 1654 he presented Frederick Bibliography

III of Denmark with a series of room decorations T. Thomsen: .Albert Eckhout (Copenhagen. 19381
that Eckhout had partially painted in Brazil Soweit der Erdkreis reicht lexh. cat.. Cleve. Stadt. Mus.

between 1641 and 1643. This series comprised nine Haus Koekkoek, 19791
Zowijd de wereld strekt lexh. cat.. The Hague.
large portraits of aboriginal Indians, twelve still-
Mauntshuis. 1979-801
lifes with Brazilian fruit and three portraits of
Congolese envoys (Copenhagen, Stat. Mus. Kst).

The only painting by Eckhout in a Dutch public

collection. Two Brazilian Turtles (The Hague.
Mauritshuisi. was probably one of the works of art Eeckhout, Gerbrand [Gerbrandt] van den
sold by Johan Maurits in 1652 to Frederick b Amsterdam. 19 Aug 1621: d Amsterdam, bur 29

William, the Great Elector. This group included Sept 1674). Dutch painter, draughtsman and
800 chalk, oil and watercolour drawings of fish, etcher. He was the son of the goldsmith Jan
reptiles, birds, insects, mammals. Indians, mulat- Pietersz. van den Eeckhout and a great friend' as
tos, fruits and plants, most of them presumably well as a pupil of Rembrandt, according to
by Eckhout. They were collected into seven books. Houbraken. who commented that van den
the Libri picturati, of which four volumes con- Eeckhout painted in the style of his master
taining 400 oil sketches were entitled Theatrum throughout his career. This is certainly true of van
rerum naturalium Brasiliae (Krakow, Jagiellonian den Eeckhout's (biblical! history paintings (see col.

U. Lib.). In 1679 Maurits gave Louis XIV of France pi. XII », but less so of either his portraits, which
a present of eight paintings of Indians and gradually displayed more Flemish elegance, or his
animals in imaginary landscapes with still-lifes of genre pieces (from 1650). in which he followed
Brazilian and African fruits and plants painted by various trends; he adapted his style to suit his
Eckhout after his return to the Netherlands. In subject with sensitive versatility. He was also a
1668 Maximilian van der Gucht of The Hague gifted colourist and an artist of great imagination,
made a series of tapestries after these paintings superior in both these respects to such better-
for the Great Elector, and a second series, the known Rembrandt pupils as Ferdinand Bol and
Tenture des Indes'. was woven in 1687 by the Nicolaes Maes. Moreover, he was extremely pro-
French firm later known as Manufacture Royale ductive, and there is at least one dated painting
des Gobelins (Paris. Mobilier N.i. The paintings are for virtually every year between 1641 and 1674
no longer extant, but the cartoons for the tapes- In addition, he created a large body of drawings
tries were used until the 18th centurv. The manv comprising histories, figures, landscapes and
Eeckhout. Cerbrand van den 101

genre scenes executed in various media, including competition seems to have existed between
watercolour. He also made several etchings, mostly Bol and van den Eeckhout. judging from their
studies of heads, such as the Self-portrait 11646: choice of rare biblical subjects depicted in
b. 66). He died a bachelor, aged 53. related ways, such as Gideon's Sacrifice (van den
Eeckhout's versions, 1644. Stockholm. Nmus.:
j. History paintings V) Milan. Brera: Bol's version. 1641. The Hague.
(i) 1640-50. It is generally assumed that van den Rijksdienst Beeld. Ksti. By the end of the 1640s the
Eeckhout studied with Rembrandt from 1635 to influence of Lastman's colourful compositions
1640. as his first independently signed piece, the began to wane, as is evident, for example, in Elisha
Presentation in the Temple (Budapest. Mus. FA.i. and the Shunammite Woman 11649: Warsa
is dated 1641 - By 1642 he was hard at work, pro- Mus.i.
ducing four biblical subjects in that year, includ-
ing Gideon's Sacrifice luntraced; see Sumowski. (ii) 1650-74. During the 1650s van den Eeckhout
1983. no. 3921. which reveals that Rembrandt's inclined increasingly towards a more detailed
pupils shared their master's unflagging enthusi- style, as in Boaz and Ruth 11651; Bremen. Ksthalle:
asm for his teacher Pieter Lastman. whose bright see fig. 171. in which he showed himself for the
palette is work alongside a
employed in this first time to be a proficient landscape painter. Less
Rembrandtesque chiaroscuro. The Dismissal of successful is the landscape in Granida and Daifilo
Hagar 1 1642; ex-Edzard priv. col.. Munich; see 11652: Milan. Mus. A. Ant.: splendid preparatory
Sumowski. 1983, no. 393) is based on a Rembrandt drawing in Brunswick. Herzog Anton Ulnch-Mus.i.
etching dated 1637 IB. 30). Lastman's palette and The life-size Rest on the Flight into Egypt 11653:
Rembrandt's lighting and formal language are Milwaukee. WI. A. Bader priv. col., see Sumo.
again combined in van den Eeckhout's Jacob's 1983. no. 415) recalls Rembrandt's very Flemish'
Dream 11642: Warsaw. N. Mus.) and Isaac Blessing Holy Family ic. 1633: Munich. Alte Pin.i. while the
Jacob 1642: 1 New York. Met.). Conspicuous in the motif of Mary showing the Christ Child to Joseph
latter is the depiction of a famous silver-gilt ewer is borrowed from Rembrandt's etching of the same
1 1614) by Adam van Yianen, which was owned subject 1645: 1 b. 58). Rembrandt's etching of Medea
by the Silversmiths' Guild to which van den |b. 112) may have been the basis for van den
Eeckhout's father belonged. (In homage to van Eeckhout's Idolatry of Solomon 11654: Brunswick.
Vianen, he drew a variant of this ewer as the first Herzog Anton Ulrich-Mus.i. During this period van
of a series of ornamental designs le.g. Amsterdam. den Eeckhout painted in both a broad and a more
Hist. Mus.: Schwerin. Staatl. Mus.i that were pub- detailed manner, as can be seen, for example, in
lished as prints c. 1651 by Michiel Mosyn and the two versions of Boaz and Ruth 11655;

intended as patterns for silversmiths, sculptors Rotterdam. Mus. Boymans-van Beuningen: and
and painters.) Van den Eeckhout's interest in his 1656: Beerse. Bert van Deun priv. col., see

father's craft was occasionally expressed in still- Sumowski. 1983. no. 4231 In 1658 he even used
lifes with decorative vases, which appeared as sub- three different methods: he painted an even la
sidiary motifs in history paintings, for example in Flemish-sized version of The Levite am
two different versions of the Meeting of Abraham his Wives at Gibear
and Melchizedek I1646. Mantta. Serlachius A. Mus.: the small Christ and hi« Dublin. N

1664. Budapest. N. Mus.i. painted in Rembrandt's broad manner, and the

In the exceptionally large canvas depicting Continent hich

The Levite and One of his Wives at Gibeah 11645; KCUted in a polished, detailed style. He
Berlin. Gemaldegal.). van den Eeckhout antici- had immediate :or a

pated similar 'Flemish'-style works of the later he made a variant of it (Philadelphia.

that brought acclaim to Bol and Govaert Flinck in : his

the 1650s. As early as the 1640s a kind of artistic

102 Eeckhout, Gerbrand van den

17. Gerbrand van den Eeckhout: Boaz and Ruth, 1651 (Bremen, Kunsthalle)

During the early 1660s van den Eeckhout made Cup of Poison (1664; Brunswick, Herzog Anton
an attractive series of small-scale biblical history Ulrich-Mus.) and Jacob's Dream (1669; Dresden,
paintings (comparable to the one in Dublin), Gemaldegal. Alte Meister), painted in a much
executed with a loose brush and in warm red and broader manner. During this period he also
brown tints. These include Christ Teaching in the reverted to Lastman's palette and manner of com-
Temple (1662; Munich, Alte Pin.), the Widow's posing in such works as the Dismissal of Hagar
Mite (1663; Turin, Gilberto Zabert priv. col., see (1666; Raleigh, NC Mus. A.). Painted in variegated
Sumowski, 1983, no. 437), Eliezer and Rebecca colours but with Rembrandt's broad touch are 55
(1663; Leipzig, Mus. Bild. Kst.), Elisha and the Peter and John Healing the Cripple (1667; San
Shunammite Woman (1664; Budapest, N. Mus.), Francisco, CA, de Young Mem. Mus.), as well as
Christ and the Woman Taken in Adultery (proba- several undated, rather summarily executed
bly 1664; Amsterdam, Rijksmus.) and the works, including the Presentation in the Temple
Adoration of the Magi (1665; Moscow, Pushkin (ex-C. J. K. van Aalst priv. col., Hoevelaken; see
Mus. F.A.). A number of large-format works include Sumowski, 1983, no. 450) and Vertumnus and
such tours de force as Sophonisba Receiving the Pomona (Indianapolis, IN, Herron Mus. A.). Van
Eeckhout, Cerbrand van den 103

den Eeckhout's later paintings are of variable N.G.) or the variants that Rembrandt and his
quality but reach a highpoint with the Calling of pupils painted in the 1640s. In later portraits van
St Matthew (1674; Munich, Alte Pin.), painted in den Eeckhout employed international formulae
the year of his death. that recall Anthony van Dyck's prototypes, for
example the portrait of a Governor of the Dutch
2. Other painted subjects East Indies Company (1669; Grenoble, Mus. B.-A.).

Although history pieces form the great majority He also painted the group portrait of the lout-

of his painted oeuvre, van den Eeckhout also Officers of the Amsterdam Coopers' and Wine-
addressed other subjects. During the 1650s he pro- rackers' Guild (versions, 1657; London, N.G.. and
duced interior genre scenes in the vein of Gerard 1673; Amsterdam, Hist. Musi, a guild to which his
ter Borch (ii) and Pieter de Hooch, though employ- brother Jan van den Eeckhout belonged. In the
ing a very manner of composition.
personal later version the imaginary marble background
Among these are the Company on a Terrace (1652; with St Matthew, patron saint ol the coopers, m
Worcester, MA, A. Mus.), the Lute-player and a niche is an innovation within the genre.
Singers (1653; The Hague, Gemeentemus.) and the On a few occasions van den Eeckhout chose
Music Lesson (1655; Copenhagen, Stat. Mus. Kst). landscape as an independent subject: the bright,
These glimpses of the leisure time of the affluent southern sunlight forms a striking element in the
reveal amore naturalistic conception of elegance Mountain Stream with Men Bathing (Amsterdam,
than was held by such predecessors in the genre Rijksmus.). He took landscapes by his friend
as Willem Buytewech and anticipate the greater (according to Houbraken) Roelant Roghman as a
elegance of Dutch genre painting of the 1660s and point of departure for the Mountain landscape
1670s. They also demonstrate van den Eeckhout's (1663; Amsterdam, W. Russell priv. col., see 1987-8
sensitivity as a narrator. He also painted guard- exh. cat., p. 304).

room scenes, such as the Soldiers in a Guardroom

(Boston, MA, Mus. F.A.) and Soldiers in an Inn 3. Drawings

(1655; Petworth, priv. col., see Sumowski, 1983, Landscape was one ol van den Ee< khOUt's tavounte
no. 511). subjects for drawings. His earliest sheets are
Van den Eeckhout's clear preference for history rather Rembrandtesque. but between 1650 and
painting is further demonstrated by the scarcity 1655 he produced decorative landscapes intended
of his portraits. Contemporary art theory accorded for sale, in the style ol Roghman and \ntoni
portraiture, which could often be profitable, a Waterlo, drawn in chalk and heavily washed with
very low status, compared with history subjects, the brush (e.g. Hollow lane Bordered by
and it is interesting to note that a number of with Ruins on the left, 1650; Paris, Pond. ( ustodia
his portraits were intended to double as history Inst. Neer.l. It is unclear whether these are topo-
paintings (e.g. the Continence ofScipio). He made graphically accurate, as are his panoramic land-
several striking portraits of children in arcadian scapes ol 1 lie early l66os, such as the View along
surroundings (e.g. 1667; Hartford, CT, Wadsworth the River Rhine in the Vicinity ol Arnhem (it

Atheneum; Portrait of a Family as Shepherds Cambridge, Pitzwilliam) and the Viewoi Haarlem
and Shepherdesses, 1667; Budapest, N. Musi (Berlin, Kupferstichkab.) Vers characteristk ol

Among the more traditional portraits, the most van den Eeckhout is the use <>t watercolour
appealing are those of his father, Jan Pietersz. van washes, also evident in the vieWI near Khenen.

den Eeckhout (1664; Grenoble, Mus. B.-A.), and Arnhem and (lews (e.g Amsterdam, Rijksmus.;
his stepmother, Cornelia Dedel (1664: the Berlin. Kupferstichkab.; Dresden. Kupferstichkab.;

Netherlands, priv. col., see Sumowski, 1983. no. Haarlem, levied Mus ; London, BM) made during
521). The placing of the figures in a semicircular a trip along the River Rhine with |acob 1 ssdens

niche with one arm leaning on a sill is borrowed and Jan Lievens ID 1663; all three artists drew at

from Rembrandt's Self-portrait (1640; London. the same locations Van den Eeckhout also drew
104 Eeckhout, Gerbrand van den

biblical scenes, often as studies for his paintings, Cleve (e.g. Amsterdam, Rijksmus.; Edinburgh, N.G.;

figure studies in chalk, detailed portraits (some Haarlem, Teylers Mus.; St Petersburg, Hermitage).
on parchment), ornamental drawings and designs Besides these topographical views, Esselens also
for book illustrations. A distinct group of draw- drew imaginary landscapes, for example of river-

ings, executed exclusively with the brush and banks and coastlines with fishermen or tradesmen
brown wash, comprises figure studies of boys and in the manner of Simon de Vlieger, woody land-
women (often after the same models) and a dog scapes suggesting the influence of Anthoni
(e.g. Amsterdam, Rijksmus.; London, BM; Paris, Waterlo and hilly landscapes in the style of his

Fond. Custodia, Inst. Neer.). travelling companions van den Eeckhout and
Lievens. Some works seem to have been inspired
Bibliography by etchings and drawings of the Dutch country-
A. Houbraken: De groote schouburgh (1718-21), i. p. 174; side made by Rembrandt in the 1640s and 1650s.
ii, p. 100 It would, however, be an exaggeration to consider
A. von Bartsch: Le Peintre-graveur (1803-21) |b.|
Esselens a pupil of Rembrandt, as has often been
W. Sumowski: 'Gerbrand van den Eeckhout als Zeichner',
suggested since the 19th century. Despite a clearly
Oud-Holland, lxxvii (1962), pp. 11-39
— : Drawings of the Rembrandt School, iii (New York,
recognizable personal style of drawing, Esselens
was often inspired by the work of other draughts-
1980), pp. 601-819
— : Gemalde der RembrandtschMer, ii (Landau/Pfalz,
men. This is also true of his paintings, which are
1983). pp. 719-909 somewhat eclectic in nature but sometimes of a

Masters of Dutch 17th-century Landscape Painting surprisingly high artistic standard. His seaside
(exh. cat., ed. P. C. Sutton; Amsterdam. Rijksmus.: views (e.g. Amsterdam, Rijksmus.; Copenhagen,
Boston, MA, Mus. F.A.; Philadelphia, PA, Mus. A.; Stat. Mus. Kst), with their characteristic atmos-
1987-8) phere, betray the influence of Adriaen van de
B. P. J. BROOS Velde, but the use of silver-grey tints also suggests
that of Simon de Vlieger. He painted arcadian
landscapes, in a rather uninspired style, that are
reminiscent of Cornelis van Poelenburgh (e.g.

Esselens, Jacob Brunswick, Herzog Anton-Ulrich-Mus.), but he

(b Amsterdam, c. 1627; d Amsterdam, bur 15 Jan also occasionally produced charming landscapes
1687). Dutch draughtsman and painter. He was bathed in southern light, for instance the
referred to as a 'painter' on the occasion of his Landscape with Hunters (Amsterdam. Rijksmus.)
(late) marriage on 11 April 1668, but in the will and the 'Scottish' Landscape (The Hague, Mus.
drawn up after the death of his wife in 1677 he is Bredius). In his non-topographical landscapes,
called a 'merchant'. He did indeed trade in silks animals and, especially, figures play an important
and velvets. As an artist, he was self-taught and role: fishermen or townspeople are seen buying
should probably be considered an amateur. His fish in his beach views, while in other works ele-

textile business occasioned visits, among other gantly dressed ladies and gentlemen are involved
places, to Italy, France, England and Scotland, in recreational pursuits (e.g. Elegant Hunting
where he made accomplished landscape drawings. Party on the Bank of a River, Rotterdam, Mus.
Panoramic views of English towns (Chatham, Boymans-van Beuningen). He died a wealthy man;
Greenwich, London, Rochester and Rye) dating his friend and fellow silk merchant Abraham
from the 1660s were later included in the Atlas Rutgers (b Amsterdam, 1632; d Amsterdam, 1699).
van der Hem (Vienna, Osterreich, Nbib.). In 1663 who was also an avid amateur draughtsman, was
he journeyed along the Rhine with Gerbrand van appointed guardian of his children. Rutgers was
den Eeckhout and Jan Lievens, as is evident from also the administrator of Esselens's estate, which
the many drawings by all three artists of the included many of the latter's drawings, which he
same locations, including Rhenen, Arnhem and repeatedly copied.
Everdingen, van: (i) Caesar van Everdingen 105

Bibliography as well as the great height at which they were to

P. H. Hulton: 'Drawings of England in the Seventeenth