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Observing Protest from a Place Art, Honor and Success in the Dutch Republic FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS Amsterdam Studies in the Dutch Golden Age Editorial Board: Frans Blom, University of Amsterdam Michiel van Groesen, Leiden University Geert H. Janssen, University of Amsterdam Elmer E.P. Kolfin, University of Amsterdam Nelleke Moser, VU University Amsterdam Henk van Nierop, University of Amsterdam Claartje Rasterhoff, University of Amsterdam Emile Schrijver, University of Amsterdam Thijs Weststeijn, University of Amsterdam Advisory Board: H. Perry Chapman, University of Delaware Harold J. Cook, Brown University Benjamin J. Kaplan, University College London Orsolya Réthelyi, Eötvös Loránd University Budapest Claudia Swan, Northwestern University FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS Art, Honor and Success in the Dutch Republic The Life and Career of Jacob van Loo Judith Noorman Amsterdam University Press FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS This edition was produced with financial support from: De Gijselaar-Hintzenfonds Art History Department at the University of Amsterdam Dr. Hendrik Muller’s Vaderlandsch foundation Historians of Netherlandish Art Cover illustration: 34. Jacob van Loo, Cimon and Iphigenia, second half of the 1650s, canvas, 175 x 214 cm, the Netherlands, private collection (courtesy by Hoogsteder Museum Foundation) Cover design: Kok Korpershoek Lay-out: Newgen/Konvertus isbn 978 94 6298 798 2 doi 10.5117/9789462987982 nur 646 © J. Noorman / Amsterdam University Press B.V., Amsterdam 2020 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photo- copying, recording or otherwise) without the written permission of both the copyright owner and the author of the book. Every effort has been made to obtain permission to use all copyrighted illustrations reproduced in this book. Nonetheless, whosoever believes to have rights to this material is advised to contact the publisher. FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS This book is dedicated to Mariët Westermann and Eric Jan Sluijter. FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS Table of Contents Acknowledgements 9 Introduction 11 1. Life 21 Where Wolves Outnumbered Men 21 The Hague 25 The Affluent Bachelor 26 Settling Down, Moving Up 28 Great Success 31 Manslaughter 32 Starting Over in Saint-Germain 34 The Royal Academy 36 The Ambassador Artist 37 Founder of the Van Loo Dynasty 40 Conclusion 41 2. Artistic Output 43 Training 43 Studio Practice 47 Authenticity 52 History on a Grand Scale 54 Cabinet Pictures 60 Fashionable Portraiture 65 Paris 1661–1670 70 Conclusion 72 3. Clientele 75 Archival Data 75 Clientele 79 Portraiture in Amsterdam 80 Figure Paintings in Amsterdam 84 Portraits in Paris 88 Enduring Relationships 92 The Huydecoper-Hinlopen Family 93 The Huygens Family 95 Conclusion 98 FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS 8 ART, HONOR AND SUCCESS IN THE DUTCH REPUBLIC 4. The Academic Nude and its Audience 99 Documentary Evidence on Amsterdam’s Academies 100 European Art Academies 103 The Theory of ‘Welstant’ 105 The Surviving Academic Drawings 109 Two Groups of Academic Draftsmen 111 Empathy versus ‘Welstant’ 113 Dutch Classicism: The Art of Standing Well 115 Van Loo’s Academic Mode 119 An Audience for the Academic Nude 122 Conclusion 126 5. The Manslaughter Case 127 Homicide: A Matter of Honor 127 31 October 1660 130 Van Loo’s Legal Case 132 Pardon Ante Sententiam 135 Friendship 136 Van Loo’s ‘Honorable’ Homicide 138 Support from the Huydecoper-Hinlopen Family 139 ‘His Reputation Regarding His Morality’ 141 Homicide in a European Context 143 Conclusion 144 Appendices A List of Works 147 B List of Early Owners 161 C Transcriptions 173 Bibliography 181 List of Illustrations 211 Photocredits 217 Abstract 219 Index 221 FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS Acknowledgements It gives me great pleasure to express my grati- Hendrik Muller’s Vaderlandsch foundation, and tude to everyone who supported me over the the Historians of Netherlandish Art. years. This book is dedicated to Mariët Wester- I would also like to express my sincere grati- mann and Eric Jan Sluijter, who also oversaw tude to my editor at Amsterdam University this book from the very beginning, and stayed Press, Inge van der Bijl, and the members of engaged as the project progressed. With Jan the editorial board of the Amsterdam Studies Steen-like wit, Mariët Westermann, my advisor in the Dutch Golden Age series. Without their at the Institute of Fine Arts, New York Univer- support for and confidence in the project, my sity, forbid me to work on Jacob van Loo until book would not have seen the light of day. I was able to show exactly what made him in- Vivien Collingwood was a champion; she edited teresting. While conducting my research, she my non-native English ‘with verve’. Another ex- encouraged me to understand Van Loo in an pert reader was Kerry Barrett, who read several ever-broader context and make new connec- chapters of my dissertation at an earlier stage. tions, which always worked in Van Loo’s favor. While I am most grateful for their help, any mis- Almost as vital to the book were the support takes are my responsibility, of course, and mine and suggestions of Eric Jan Sluijter. With his alone. At the final stage of the editorial process, precision and unrivalled knowledge of the art Annemiek Overbeek proved to be a godsend, of this time, Eric Jan’s support, advice, and con- having procured all of the images and image versation proved invaluable to my research. I rights to Van Loo’s stunning works of art. consider myself incredibly lucky in my academ- I should like to thank Rudi Ekkart for discuss- ic parentage, and I dearly thank them both. ing with me virtually every portrait that could This book was made possible by an NWO possibly be by Van Loo. I thank the members Aspasia Grant (University of Amsterdam, Col- of the UvA/nwo project ‘Artistic and Economic lege of Humanities), which gave me the time Competition in the Amsterdam Art Market to turn my dissertation into a book. Frans (1630–1690)’ for adopting my project as a satel- Grijzen hout played a vital role in securing the lite of their own. In addition, Marten Jan Bok and grant, and was thus key to the book’s publica- Angela Jager helped me with the transcription tion. I am, as always, immensely grateful for his of Van Loo’s conviction and Laurens Pelgrom’s sincere support for my professional ambitions. testimony, for which I am most grateful. Sjoerd At an earlier stage, my research was generously Faber and Florike van Egmond assessed the supported by the Metropolitan Museum of Art, probability of Van Loo’s fraudulent escape from the American Friends of the Mauritshuis, and a death sentence. Lotte van de Pol graciously the Institute of Fine Arts, New York University. shared her extensive knowledge on female These institutions allowed me to examine the honor and prostitution in the seventeenth majority of Van Loo’s work at first hand, which century. Several conservators conducted new was invaluable. For the publication of the book, technical research on Van Loo; I thank Sabrina I received generous contributions from De Meloni, Troels Filtenborg, and Ige Verslype. I Gijselaar-Hintzenfonds, the Art History Depart- am indebted to W.J. op ’t Hof, Kees de Ridder, ment at the University of Amsterdam, the dr. and Arco Willeboordse, archivists of Zeeland, FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS 10 ART, HONOR AND SUCCESS IN THE DUTCH REPUBLIC for their kind and expert help. I am grateful to and the Amsterdam Center for the Study of Adriaen Waiboer for bringing a previously un- the Golden Age at the University of Amster- known Van Loo to my attention. dam helped to create the ideal environment in The following friends and colleagues en- which to conduct research and discuss the mi- riched my research with their stimulating con- nutiae of the era under investigation. I thank servation and references to useful information: you all for making the process as pleasurable Piet Bakker, Kerry Barrett, Bob van den Boogert as it was intellectually stimulating. Libraries, (†), Machiel Bosman, Peter van den Brink, Inge research institutions, and museums played a Broekman, Quentin Buvelot, Jennifer Spears vital role during my research. I should especial- Brown, Bas Dudok van Heel, Perry Chapman, ly like to thank everyone at the RKD and the Jacquelyn Coutré, David de Witt, Colin Eisler, Rijksmuseum library, where I wrote the lion’s Nina Geerdink, Lia van Gemert, Willem Jan share of both my dissertation and the book. I Hoogsteder, Elmer Kolfin, Anique de Kruijff, also thank the private collectors who opened Walter Liedtke (†), Ad Leerintveld, Norbert their homes to me; there never were such gra- Middelkoop, Carlo van Oosterhout, Nicolette cious hosts. Sluijter-Seijffert, Marrigje Rikken, Erna Kok, Throughout the process, my friends and Herman Roodenburg, Peter Schatborn, Robert family reminded me of what is most important Schillemans, Vanessa Schmidt, Jan Six, Sasha in life. I am most thankful, however, to Peter Suda, Jessica Veith, and alphabetically last Aker boom for his love and support, and for but not least, Willem van de Watering. All of always understanding, and being proud of, my my colleagues at the Art History Department art historical ambitions. FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS Introduction Soon after Jacob van Loo (1614–1670) stabbed of Murder, 2008) and female honor (including a man in the stomach with a knife, a coroner Lotte van de Pol’s The Burgher and the Whore, appointed by the city of Amsterdam must have 2011), and applies them in an art-historical con- established that the victim died of the injuries text.1 The gendered concept of honor allows us, Van Loo had inflicted.
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