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The Rijksmuseum Bulletin the rijksmuseum bulletin 2 the rijks betweenmen factmuseum in blackand fiction bulletin Consistent Choices A Technical Study of Johannes Cornelisz Verspronck’s Portraits in the Rijksmuseum • anna krekeler, erika smeenk-metz, zeph benders and michel van de laar • In memory of Manja Zeldenrust (1952-2013) n 2008 the Rijksmuseum acquired Detail of fig. 1 fundamental publications on the I four portraits painted by the artist’s life and oeuvre were indispen- Haarlem-born artist Johannes sable in enabling the authors’ own Cornelisz Verspronck (c. 1601/03- conclusions to be put into context.5 1662).1 The Rijksmuseum now owns eight portraits by him painted between Alongside Frans Hals and Jan de Bray, 1641 and 1653, the best-known being Johannes Cornelisz Verspronck was the Portrait of a Girl Dressed in Blue. one of the most successful portraitists Two of the four paintings that were in seventeenth-century Haarlem, yet acquired, the Portrait of Maria van we know comparatively little about Strijp and the Portrait of Eduard Wallis, him. He most probably learned the had been part of the Rijksmuseum’s trade from his father Cornelis Engelsz collection on long-term loan since (c. 1575-1650), who had been a pupil of 1952, before they were permanently Cornelis Cornelisz van Haarlem and added to the collection along with two of Karel van Mander.6 Verspronck other portraits of members of the joined the Haarlem Guild of St Luke in same family. The purchase allowed the 1632. He died in 1662 and was buried in authors the opportunity to undertake the Grote Kerk in Haarlem. His oeuvre thorough research into both painting – the earliest dated work is from 1634, technique and condition, and to restore the last 1658 – contains, as far as we them.2 The other four por­­traits by the know, at least a hundred portraits. We artist in the Rijks museum’s collection only know of one history painting, one were also resear ched to gain more genre work and one still life, all painted in-depth knowledge of Verspronck’s in his early period.7 painting style. The authors also had The four recently acquired portraits the oppor tunity to study the Portrait are of members of the Wallis and Van of a Man and the Portrait of a Woman Strijp families and come from the collec - in the Rijks museum Twenthe3 and tions of the subjects’ descendants.8 The three portraits of women painted by pendants of the married couple, Eduard Verspronck in the Louvre.4 Wallis (1621-1684) and Maria van Strijp The thorough research by Ella (1627-1707), were painted in 1652 (figs. Hendriks into Verspronck’s painting 1, 2). The earliest portrait in the group technique and Haarlem studio prac- acquired is that of their mother-in-law tices in general and Rudi Ekkart’s and mother respectively, Adriana 3 the rijksmuseum bulletin Figs. 1 and 2 johannes cornelisz purchased with the verspronck, support of the Portrait of Eduard BankGiro Loterij, the Wallis and Portrait Fonds Cleyndert, the of Maria van Strijp, Stortenbeker Fonds 1652. of the Vereniging Oil on panel, Rembrandt and the 98 x 76 cm. Rijksmuseum Fonds. Amsterdam, Rijks - Photograph taken museum, inv. nos. after the 2009 sk-a-4999, sk-a-5000; restoration. Fig. 3 johannes cornelisz verspronck, Portrait of Adriana Croes, 1644. Oil on canvas, 92 x 75 cm. Amsterdam, Rijks - museum, inv. no. sk-a-4998; purchased with the support of the BankGiro Loterij. Photograph taken after the 2009 restoration. 4 consistent choices Croes (1599-1656), painted in 1644 (fig. 3). After the death of her husband Hendrik Pietersz van Strijp in 1639, she was left with five young daughters. Three of them later married sons of the Wallis family, a Scottish Presbyterian family of textile merchants. The fourth painting, Portrait of a Man of the Wallis Family (fig. 4), was painted in 1653 and is probably of one of Eduard Wallis’s brothers.9 The most popular work in Verspronck’s oeuvre is the Portrait of a Girl Dressed in Blue painted in 1641 and purchased in 1928 (fig. 5). We do not know who she is, but judging by her Fig. 4 Fig. 5 johannes cornelisz johannes cornelisz verspronck, verspronck, Portrait of a Man of the Portrait of a Girl Wallis Family, 1653. Dressed in Blue, 1641. Oil on panel, 85 x 66 cm. Oil on canvas, 82 x 67 cm. Amsterdam, Rijksmuseum, Amsterdam, Rijks museum, inv. no. sk-a-4997; inv. no. sk-a-3064; purchased with the purchased with the expensive clothes we may assume that support of the BankGiro support of the Vereniging she came from a well-to-do family. Loterij. Photograph taken Rembrandt. She would probably have been from after the 2009 restoration. Haarlem, as almost everyone who sat for Verspronck and has been identified came from there or was connected to the city in one way or another.10 Thanks to Ekkart’s provenance research, we know that the girl was most likely a daughter of the subjects in the Portrait of a Man and Portrait of a Woman in the Rijksmuseum Twenthe’s collection (figs. 6, 7).11 In 1641 Verspronck painted the portrait of Pieter Jacobsz Schout (1570-1645), which the Rijksmuseum bought at auction in 1858 (fig. 8). Until this sale the work was still owned by Schout’s descendants. Schout came from a Haarlem family of regents and between 1608 and 1616 was burgo- master of the city on five occasions. He also held senior ranks in the civic guard (St George’s Militia). His career came to an end in 1618, when Prince Maurice decreed that Remonstrant families would no longer be allowed to occupy high office.12 5 the rijksmuseum bulletin Fig. 6 johannes cornelisz 15 The portrait of Johan van Schoter bosch verspronck, Cornelisz van Haarlem. For instance, (c. 1564-1654) was painted in 1647 and Portrait of a Man, although Verspronck’s famous contem- came into the Rijksmuseum’s collec- 1641. porary Frans Hals, who also lived and tion in 1885 (fig. 9). This painting was Oil on canvas, worked in Haarlem, used panels for also owned by the family until the 82 x 67 cm. small portraits throughout his career, Enschede, Rijks - museum acquired it. Van Schoterbosch museum Twenthe, in general he painted much more on 16 likewise held high rank in the Haarlem inv. no. 515. canvas. This does not, however, apply civic guard (Kloveniers Barracks) until Photo: to Verspronck, who seems to have he too was dismissed by Prince Maurice R. Klein Gotink. done completely the opposite in his in 1618.13 later career (fig. 11).17 The paintings Little more is known about the Por- Fig. 7 researched for this article attest to this trait of a Man, painted in 1646, other johannes cornelisz pattern; the eight portraits on canvas verspronck, than that it was donated to the Rijks- Portrait of a Woman, date from between 1640 and 1646, the museum in 1940 (fig. 10). The prove n- 1640. five panels between 1647 and 1653. ance prior to 1929 and the sitter’s Oil on canvas, Almost all the single figure portraits identity are unclear. 82 x 67 cm. by Verspronck are around 70 to 90 cen ti- Enschede, Rijks - ­­metres high and 60 to 70 centimetres Painting Technique museum Twenthe, wide regardless of the nature of the Supports inv. no. 514. support.18 The portraits researched Photo: At the beginning of the seventeenth R. Klein Gotink. also fall roughly within this range (h. century wood was the most common 76-92 cm, w. 62-68 cm), the somewhat support for paintings, but canvas was larger portraits of Maria van Strijp and used with increasing frequency as the Eduard Wallis excluded.19 Yet even this century progressed.14 Hendriks reports slightly larger size is also occasionally that the use of canvas as a support in found in Verspronck’s oeuvre. Haarlem probably gained popularity The pendants of Eduard Wallis and in the 1590s, beginning with Cornelis Maria van Strijp and the Portrait of a 6 consistent choices Fig. 8 johannes cornelisz verspronck, Portrait of Pieter Jacobsz Schout, 1641. Oil on canvas, 77 x 64 cm. Amsterdam, Rijks museum, inv. no. sk-a-380. Fig. 9 Fig. 10 johannes cornelisz johannes cornelisz verspronck, verspronck, Portrait of Johan van Portrait of a Man, Schoterbosch, 1647. 1646. Oil on canvas, Oil on panel, 86 x 66 cm. 76 x 62 cm. Amsterdam, Rijks - Amsterdam, Rijks - museum, inv. no. museum, inv. no. sk-a-3352, gift of sk-a-1253; gift of Mr and Mrs Kessler- Jonkheer J.S.R. van Hülsmann, Kapelle de Poll, Arnhem. op den Bosch. 7 the rijksmuseum bulletin Fig. 11 Man of the Wallis Family are still in panel paintings in the first half of the Supports used by their original frames – a rare stroke seventeenth century. This changed Johannes Cornelisz of luck.20 There were also standard around 1650, when the vital routes Verspronck, based on measurements for frames correspond- for the timber trade across the Baltic all currently known signed and dated ing with those of the supports.21 The were severed as a consequence of the paintings. Portrait of a Girl Dressed in Blue and Second Swedish-Polish War (1655-60).23 the portraits of her presumed parents The pendant portraits of Eduard Wallis were painted on canvases of exactly and Maria van Strijp of 1652 and the the same size, which lends credence Portrait of a Man of the Wallis Family to the suggestion that they were once of 1653 were likewise still painted portraits of family members hanging on wood from the Baltic.24 Hendriks together as an ensemble (see figs.
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