A Young Man Holding a Staff

1640

Pieter Claesz Soutman

Artist, Dutch, 1580 - 1657

Shown from the chest up, a light-skinned, cleanshaven man looks down and to our left in this vertical portrait painting. His shoulders angle slightly to the right, but he turns to look in the other direction with dark eyes under gathered brows. He has a prominent nose, a pointed chin, and his full lips are parted. His dark blond hair is parted down the middle and falls to both shoulders. His right arm, to our left, crosses his chest, and he holds a staff with that hand along the right side of the painting. He wears a tawny-brown coat with buttons down the front over a high white collar. The background is painted with shades of fawn and peanut brown. The artist signed and dated the painting along the center of the left edge in faint brown paint: “P. Soutman F.A. 1640.”

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Young Man Holding a Staff is one of only a handful of Pieter Claesz Soutman's surviving paintings, most of which date to the 1640s when he was working in his native Haarlem. In addition to the attractive young model with his expressive gaze and flowing golden locks, the painting's appeal also stems from Soutman's remarkably fresh and vigorous brushwork. Young Man Holding a Staff is a superb example of a tronie, or "character study," an important type of Dutch and Flemish painting that straddles the fields of genre painting and portraiture. The painting's excellent condition heightens the intensity and sense of immediacy of the image.

This painting provides a fascinating glimpse into the close connections that existed between the northern and the southern Netherlands, specifically between Haarlem and Antwerp. Soutman began his career as an engraver in Haarlem, presumably after training with Hendrick Goltzius. He moved to Antwerp around 1615 to make reproductive engravings of paintings by Peter Paul Rubens. While in Rubens's workshop, Soutman also started to paint, and his work clearly shows the influence of the elegant style of Anthony van Dyck, Rubens's most important assistant.

In 1619, Soutman became a citizen of Antwerp and joined the artists' Guild of Saint Luke. Probably on the recommendations of Rubens and young Prince Władysław of Poland, who visited Rubens's studio in 1624, Soutman served as court painter to King Sigismund III Vasa in Warsaw from 1624 until 1628. He returned to Haarlem in 1628, where, in 1633, he married and joined that city's Guild of Saint Luke. Soutman painted this evocative tronie in 1640 in a style that recalls Van Dyck's figure studies, an indication of the strong appeal of Flemish art in Haarlem at that time. During the 1640s Soutman received a number of important portrait commissions, including ones from Haarlem militia companies. At the end of the decade Constantijn Huygens, secretary to Prince Frederick Hendrick, invited Soutman to participate in the decoration of the Oranjezaal in the Huis ten Bosch, which remains an official residence of the Dutch royal family.


Artwork overview


Artwork history & notes

Provenance

Private collection; (sale, Sotheby's, London, 22 April 2009, no. 31); private collection; sold 21 May 2010 through (Bijl - Van Urk, B.V., Alkmaar, The Netherlands) to NGA.

Associated Names

Bibliography

2020

  • Libby, Alexandra. “From Personal Treasures to Public Gifts: The Flemish Painting Collection at the National Gallery of Art.” In America and the Art of Flanders: Collecting Paintings by Rubens, Van Dyck, and their Circles, edited by Esmée Quodbach. The Frick Collection Studies in the History of Art Collecting in America 5. University Park, 2020: 142.

Inscriptions

center left: P. Soutman / F.A. 1640

Wikidata ID

Q20177190


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