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Portretten Als Bijzaak Portretten als bijzaak Een onderzoek naar hoe vier gelegenheidsportrettisten in Rotterdam en Dordrecht hun opdrachten verkregen. Marian Oosting (6054447) Masterscriptie Kunstgeschiedenis Begeleider: prof. dr. Frans Grijzenhout Tweede lezer: dr. Erna Kok Universiteit van Amsterdam 20 juni 2016 Faculteit der Geesteswetenschappen Academisch jaar 2015 - 1016 Afbeelding voorkant: Jacob Ochtervelt, Portret van een onbekende familie, 1670. Doek, 96.5 x 91 cm. Boedapest, Szépmüvészeti Múzeum Woord vooraf Graag wil ik deze plek gebruiken om een aantal mensen te bedanken die er mede voor hebben gezorgd dat deze scriptie tot stand is gekomen. Allereerst Frans Grijzenhout. Door het tutorial dat ik een jaar geleden bij hem volgde over de portretten van Gerard ter Borch is mijn enthousiasme over portretten aangewakkerd. En vooral ook het bijbehorende onderzoek naar genealogische verbanden en archivalisch bewijsmateriaal. Hij liet mij enerzijds vrij in het doen van mijn onderzoek, maar gaf anderzijds altijd goede aanwijzingen en aanmoedigen als ik even vastzat. Dat was een enorme steun in de rug. De tutorial over Ter Borch met zijn oeuvre van genrestukken en portretten vormde uiteindelijk de inspiratie voor het onderwerp van deze scriptie. Verder wil ik mijn collega’s in het algemeen bedanken die de afgelopen vijf jaar nooit geprotesteerd hebben over alle weken die ik vrij nam voor excursies, tentamens, papers en scripties. Ze waren altijd geïnteresseerd in mijn vorderingen. Ook bedank ik mijn ‘jaarclubje’ van deeltijdstudenten Kunstgeschiedenis uit 2009 voor de vele, vele aanmoedigingen en support door de jaren heen. Als laatste bedank ik Richard. Voor zijn niet aflatende steun om dit doel te behalen. Voor zeven jaar geduldig en zonder gemopper mijn twijfels aanhoren. Maar bovenal voor samen met mij, met evenveel enthousiasme, mijn successen te hebben gevierd. Marian Oosting Juni 2016 Inhoudsopgave 1 Inleiding .................................................................................................................................. 1 1.1 Van aanbod naar (onderzoeks)vraag ........................................................................................ 1 1.2 Een sociaal-economische benadering........................................................................................ 2 2 Portretten als ‘sijd-wegh der Consten’ ........................................................................ 5 3 De kunstmarkt voor portretschilders in Rotterdam en Dordrecht vanaf de tweede helft van de zeventiende eeuw ...................................................................... 10 3.1 Rotterdam ........................................................................................................................................... 10 3.1.1 Portretschilders in Rotterdam ................................................................................. 12 3.2 Dordrecht ............................................................................................................................................ 14 3.2.1 Portretschilders in Dordrecht .................................................................................. 15 4 Hendrick Martensz Sorgh: een ondernemer onder ondernemers .................. 19 4.1 Een netwerk van koopmannen en remonstranten ............................................................ 21 4.1.1 Wie woonde waar? ........................................................................................................ 27 4.2 Een financieel comfortabel leven .............................................................................................. 28 5 Jacob Ochtervelt: de familie als hoeksteen .............................................................. 33 5.1 Zijn netwerk van ‘vrienden ende magen’ ............................................................................... 35 5.1.1 Een portret van de familie Suijcker........................................................................ 37 5.1.2 Wie woonde waar? ........................................................................................................ 38 5.2 Een bescheiden portemonnee .................................................................................................... 39 6 Aelbert Cuyp: in vaders voetsporen ........................................................................... 43 6.1 Zijn netwerk van relaties .............................................................................................................. 49 6.1.1 Een onbekende man ontmaskerd: Aelberts kopie naar een schilderij van zijn vader Jacob .............................................................................................................. 59 6.1.2 Wie woonde waar? ........................................................................................................ 61 6.2 Financiële opwaartse mobiliteit door een huwelijk .......................................................... 63 7 Arent de Gelder: een vader als wegbereider ........................................................... 67 7.1 Zijn netwerk van relaties .............................................................................................................. 70 7.1.1 Wie woonde waar? ........................................................................................................ 78 7.2 Financieel onafhankelijk ............................................................................................................... 79 8 Conclusies: portretten als bijzaak ............................................................................... 84 Bibliografie ........................................................................................................................................... 87 Bijlage 1. De familierelatie tussen Jacob Ochtervelt en Isaac Elsevier ........................... 90 Bijlage 2. De familierelaties van Aelbert Cuyp ........................................................................ 91 Bijlage 3. De relaties tussen de families Van Beveren, De Witt en De Roovere ........... 92 Bijlage 4. De relaties tussen de families Stoop en Pompe van Meerdervoort .............. 93 Bijlage 5. Portretten van onbekende personen en families ................................................ 94 1 Inleiding 1.1 Van aanbod naar (onderzoeks)vraag Onderzoek naar de portretschilderkunst van de Gouden Eeuw richt zich veelal op de erkende specialisten in dit genre. Ook tentoonstellingen en de bijbehorende catalogi behandelen vooral de specialisten. Ze informeren de bezoekers c.q. lezers uitvoerig over hun levens, het oeuvre, bekende opdrachtgevers en de manier waarop de alledaagse praktijk van het schilderen van portretten in zijn werk ging. Alleen Ekkart wijdde in de catalogus Hollanders in beeld een kleine paragraaf aan wat hij noemde ‘gelegenheidsportrettisten’. Toch produceerde deze groep schilders een niet onaanzienlijk deel van het totaal aantal tegenwoordig bekende portretten. Ekkart noemt een aantal mogelijke redenen waarom deze specialisten van andere genres toch een of meer portretten maakten: een aantrekkelijk inkomstenbron, het schilderen van portretten hoorde bij de basisopleiding (dus elke kunstschilder zou het in meer of mindere mate moeten kunnen beheersen) of zij schilderden vooral familieleden. Daarnaast kan meespelen dat de betreffende schilders vaker portretten maakten die nu verloren zijn of geen juiste toeschrijving hebben door een gebrek aan signatuur. Voorbeelden bij al deze suggesties worden echter niet gegeven.1 Ekkart schrijft tevens dat door de vraag naar portretten in alle delen van de Republiek er een grote geografische spreiding van zeventiende-eeuwse portretschilders was. In alle gewesten en elke stad van enige betekenis waren schilders gevestigd die in staat waren een redelijk of zelfs uitstekend portret te vervaardigen.2 Marten Jan Bok en Gary Schwartz geven aan dat de kunstenaars die deze portretten maakten, meestal specialisten waren die de meer koopkrachtige sectoren van de markt bedienden. Zij behoorden tot de economische bovenlaag van de kunstenaars.3 Met een dergelijk aanbod aan specialisten leek het voor een opdrachtgever niet moeilijk om een schilder te kiezen die een goed portret kon vervaardigen. Daarbij komen we bij de belangrijkste onderzoeksvraag van deze scriptie: wat zouden redenen kunnen zijn dat zeventiende-eeuwse schilders die veel meer bedreven waren in een totaal ander genre, ook portretopdrachten wisten te verkrijgen? Ik heb daartoe twee middelgrote steden met een dito kunstmarkt gekozen: Rotterdam en Dordrecht. In deze twee steden heb ik onderzoek gedaan naar vier schilders, twee in Rotterdam (Hendrick Maertensz Sorgh en Jacob Ochtervelt) en twee in Dordrecht (Aelbert Cuyp en Arent de 1 Rudi Ekkart, Hollanders in beeld, Zwolle: Waanders Uitgevers, 2007, pp. 55-56. 2 Ekkart, 2007, p. 54. 3 Marten Jan Bok, Gary Schwartz, ‘Schilderen in opdracht in Holland in de 17e eeuw’, in: Holland historisch tijdschrift, 1991, nr. 4-5, p. 193. 1 Gelder). Welke vraag was er in die tijd naar portretten in beide steden en wat was het aanbod van portretschilders? Een volgende vraag is hoe het netwerk van deze schilders eruit zag. Wie waren hun opdrachtgevers? En met welke andere stadsbewoners hadden de onderzochte schilders contact? Om te achterhalen of het schilderen van portretten een noodmaatregel was om financiële nood te lenigen, is tevens in kaart gebracht wat hun financiële situatie was. 1.2 Een sociaal-economische benadering Met dit onderzoek wil ik op basis van een viertal ‘praktijkvoorbeelden’ aantonen
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