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Portret Van Een Zeventiende-Eeuwse Schildersvrouw: Anna Schut, Huisvrouw En Weduwe Van Peter Snayers*

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Portret Van Een Zeventiende-Eeuwse Schildersvrouw: Anna Schut, Huisvrouw En Weduwe Van Peter Snayers* LEEN KELCHTERMANS Portret van een zeventiende-eeuwse schildersvrouw: Anna Schut, huisvrouw en weduwe van Peter Snayers* In haar boek Vrouw des huizes schetst Els Kloek aan de hand van eigentijdse literatuur en reisverslagen een beeld van de zeventiende-eeuwse Hollandse huisvrouw. Zij voedde de kinderen op, maar was tegelijk de matrone over de geldzaken. William Carr, een Engelse reiziger, schreef in 1688 zelfs: ‘Ja, het is algemeen bekend in dit land, dat als de vrouwen het beheer hebben over het geld (‘purse’) en de handel (‘trade’), de mannen zelden bankroet gaan’.1 De schaarste aan bronnen echter maakt dat deze financieel kundige zaakvoerders in de schaduw blijven van hun echtgenoten. Bij zeventiende- eeuwse schildersvrouwen is dat zeker niet anders. De Haarlemse Judith Leyster (1609-1660) vormt, wat de Noordelijke Nederlanden betreft, een uitzondering.2 Niet alleen bouwde zij faam op als schilderes, ook staven archivalia dat zij na haar huwelijk met Jan Miense Molenaer in 1636 het penseel vaker ter zijde legde om de zakelijke administratie van hun kunsthandel en schildersbedrijf te beheren.3 In dit artikel kan nu ook een Zuid-Nederlandse schildersvrouw, voor het voetlicht worden gebracht: Anna Schut, echtgenote van de Vlaamse veldslagenschilder Peter Snayers (1592-1667). Een exceptionele rijkdom aan ongepubliceerde bronnen in Antwerpse en Brusselse archieven laat toe een unieke blik te werpen op de activiteiten van deze kordate dame. De verschillende familiale en zakelijke sociale rollen van Anna Schut staan hier centraal. Anna Schut was de dochter van pasteibakker Cornelis Schut en Maria Waeyens en werd wellicht in de jaren 1590 geboren te Antwerpen (zie bijlage).4 Dat haar vader zich interesseerde voor de kunsten uitte zich niet alleen via zijn beroep – hij maakte onder meer ‘pâtés à la Michelangelo’5 – hij ondernam ook een reis naar Rome, aangezien hij in 1610 deken werd van de Antwerpse confrerie van Sint-Pieter en Sint-Paulus. Deze vereniging, die uit clerici, aristocratie, hoge burgerij maar ook kunstenaars bestond, was slechts toegankelijk voor Rome-reizigers.6 In 1611-1612 registreerde Cornelis Schut zich officieel als pasteibakker in het Sint-Lucasgilde en tien jaar later als liefhebber van de rederijkerskamer De Violieren.7 Zo bouwde hij een vriendenkring uit waartoe niemand minder dan Jan Brueghel I (1568-1625), Hendrick van Balen (1573-1632) en Peter Paul Rubens (1577-1640) behoorden.8 Deze artistieke connecties gebruikte de bakker ten volle: zijn neef en naamgenoot schilder Cornelis Schut (1597-1655) dankte er zijn dege- lijke opleiding aan.9 Het is dan ook niet vreemd dat de pasteibakker zijn dochter Anna in 1618 liet huwen met Peter Snayers, die toen al zes jaar als meester-schilder in de Scheldestad actief was.10 Snayers behoorde tevens tot zijn netwerk: hij had geleerd bij Sebastiaan Vrancx (1573-1647), die, zoals Schut, Brueghel, Van Balen en Rubens, lid was van de bovengenoemde confrerie.11 In navolging van zijn leermeester specialiseerde de schilder zich in de strijdiconografie. Met het oog op opdrachten van het hof en de militaire adel verhuisde hij samen met zijn vrouw in juni 1628 definitief naar Brussel. Terwijl er van Peter Snayers meerdere portretten bekend zijn (afb. 1), is onbekend hoe Anna Schut eruit heeft gezien.12 De ‘scheits van d’overledene ende haeren man’, vermeld in haar boedelstaat van mei 1675, bleef niet bewaard.13 178 Oud Holland 2013 volume 126 - 4 1 Cornelis Caukerken naar Daniël van Heil, Portret van Peter Snayers, gepubliceerd in: C. De Bie, Het Gulden cabinet vande edel vry schilder const […], Antwerpen 1661, p. 221. ‘Schutsvrouw’ voor familie Behalve als echtgenote van Peter Snayers werd Anna Schut in de Antwerpse parochie- registers ook gedocumenteerd als moeder van Cornelis Snayers, die twee jaar na hun huwelijk geboren werd. Wellicht stierf het jongetje al in zijn kindertijd, want geen enkel document na zijn doopsel op 8 september 1620 maakt melding van hem.14 Een ‘paxken met oudt lynwaert soo kintsdingen als anderssints’ in Schuts boedelinventaris herinnert mogelijk nog aan hem.15 Dat Anna Schut zich sterk voor haar verwanten inzette, kwam misschien doordat zij verder kinderloos bleef. Zowel uit Antwerpse als Brusselse archivalia blijkt dat zij optrad als een verdedigster van familiale belangen. In de notarisakten uit de Scheldestad zijn haar activiteiten slechts op indirecte wijze te reconstrueren. Als gehuwde vrouw was zij immers handelingsonbekwaam en stond onder voogdij van haar echtgenoot die aansprakelijk was voor haar ondernemingen.16 De actieve rol die Anna Schut in het dagelijks leven gespeeld moet hebben, werd op papier dus vertaald via haar man. Enige tijd na hun huwelijk bijvoorbeeld, op 5 maart 1624, tekenden Peter Snayers en Lenart Hamers in naam van hun echtgenotes, die erfgenaam waren van meersenier Andries Waeyens, protest aan tegen de afbraak van diens winkelhuis ‘den Vogelheijn’ op de Eiermarkt.17 Op 4 mei 1640 stelde de schilder Anna Schut aan als ‘medemomboir’ over de minderjarige kinderen van haar broer, advocaat Cornelis Schut. Haar in hoofdzaak administratieve taak werd uitdrukkelijk omschreven als ‘alle de saken de v[oo]rst[aande]. weesen rakende te v[er]volgen, defenderen en v[er]antwoirden’.18 Haar zwager Carel Viruli gaf haar in 1649 bevoegdheden in verband met het sterfhuis van de eerder ge- noemde Andries Waeyens.19 Telkens werden deze documenten slechts door de manne- lijke partij ondertekend. Maar in 1665 trad Anna Schut wel als handelende persoon op tegen de verwante beeldhouwersfamilie Van Mildert in een rechtszaak over erfeniskwes- ties.20 Toch moest ‘Jouffr[ouw]e Anna Schut huysvr[ouw]e van Sr Peeter Snaeyers constschilder tot Brusselen’ beloven het bereikte akkoord door haar man te laten goedkeuren (‘vanden voorst. haren man te doen advoyeren lauderen en approberen’) ‘binnen den tijt van veerthien toecommende dagen’.21 Uit deze akten blijkt dat Anna Schut nauw betrokken bleef bij familiale aangelegenheden in Antwerpen, ook nadat zij was verhuisd naar Brussel. Vanwege de financiële consequenties die ermee gepaard gingen, werden wijzigingen telkens officieel genoteerd door een Antwerpse notaris; de afstand tussen de Zenne- en de Scheldestad vormde dus allerminst een barrière. 179 Oud Holland 2013 volume 126 - 4.
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