Overview
With great bravura, this fashionably clad member of the Haarlem civic guard stands with one arm akimbo, staring out at the viewer. His proud bearing, accented by the panache of his shimmering pink satin costume and plumed hat, attests to the great sense of confidence felt by the Dutch at the height of their "golden age."
Andries Stilte, whose family coat of arms decorates the upper corner of this painting, is presented as a standard bearer, or ensign, of the Kloveniers, one of Haarlem’s militia companies. During the Dutch revolt against Spanish rule in the late sixteenth and early seventeenth centuries, militia companies served as a civic guard. By 1640, when Verspronck made this portrait, civic guard companies had lost most of their military function. Officers were chosen from Haarlem’s wealthy burghers, who vied for these prestigious appointments. The blue standard and sash serve to identify Stilte’s company and rank, but the rest of his outfit displays his personal taste, his family’s wealth, and his status as a bachelor (Haarlem’s militia regulations stipulated that only unmarried men could serve as ensigns). Stilte commissioned Verspronck to paint him wearing his sumptuous pink costume right before he resigned his rank to marry. As a married militia officer, Stilte would have worn an elegant black outfit.
Johannes Cornelisz Verspronck was one of the foremost portraitists in Haarlem during the mid-seventeenth century. Little is known about his artistic background, although he probably studied first with his artist-father, Cornelis Engelsz (c. 1575–1650). Verspronck may also have trained with Frans Hals (c. 1582/1583–1666). While many seventeenth-century Dutch artists, including Hals, portrayed Dutch militia companies, a life-size portrait of an individual ensign—such as Verspronck's striking likeness of Stilte—is exceedingly rare.
Entry
With great bravura, this fashionably clad member of one of the Haarlem civic guards stands with one arm akimbo, staring out at the viewer.
This remarkable life-sized, half-length portrait depicts Andries Stilte, a wealthy burgher in Haarlem whose identity is confirmed by the family coat of arms in the upper left.
Officers of the Haarlem militia companies were chosen from wealthy regent families and their positions held great social status. Andries Stilte proudly bears the blue sash and standard of his company (the blue company) that was part of the Kloveniers. He wears a sword hanging from his bandolier, which, like the rest of the ensign’s wardrobe, was traditionally determined by the individual’s family background, taste, and wealth.
Although Stilte was probably elected ensign in 1639, he served in this position only until 1640, when he became engaged to his first wife, Eva Reyniers, and therefore had to resign as ensign.
In commissioning this portrait Stilte probably chose Verspronck over his more famous contemporary
This depiction of Stilte is exceptional because during Verspronck’s long and successful artistic career he generally painted half-length portraits of middle-class burghers in relatively subdued attire.
Verspronck’s painting has been trimmed slightly at the left: the end of the flagstaff is slightly cut at the edge of the painting.
Arthur K. Wheelock Jr.
April 24, 2014
Inscription
lower left: :1640:
Provenance
(Jacques Goudstikker, Amsterdam), before 1917. Dr. Walter von Pannwitz [1856-1920], Berlin, by 1917;[1] by inheritance to his wife, Catalina von Pannwitz [1876-1959, née Roth], Heemstede; by descent in the Pannwitz family; (Otto Nauman, Ltd., New York); purchased 1988 by Mr. and Mrs. Michal Hornstein, Montreal; (sale, Sotheby's, New York, 30 January 1998, no. 69); purchased through (Bob P. Haboldt & Co., New York) by NGA.
Exhibition History
- 1917
- Loan to display with permanent collection, Mauritshuis, The Hague, 1917-1923.
- 2000
- Art for the Nation: Collecting for a New Century, National Gallery of Art, Washington, D.C., 2000-2001, unnumbered catalogue, repro.
- 2000
- Face to Face in the Mauritshuis, Koninklijk Kabinet van Schilderijen Mauritshuis, The Hague, 2000, no cat.
- 2007
- Dutch Portraits: The Age of Rembrandt and Frans Hals, The National Gallery, London; Royal Picture Gallery Mauritshuis, The Hague, 2007-2008, no. 64, repro.
Technical Summary
The support is a coarse, plain-weave fabric, which has been lined. The tacking margins have been removed and the X-radiographs reveal strong cusping on the right side, fainter cusping on the left, and very faint cusping along the top and bottom edges. The cusping is often stronger in one direction due to the warp and weft of the fabric, which could explain the shallower cusping on the top and bottom, but the faint cusping on the left side indicates that this edge was cut down slightly. This theory is supported by the fact that the handle of the standard is cut off on this edge and the painting bears a date, but no signature. It stands to reason that the artist’s signature would have preceded the date, as it often does in his paintings.
Verspronck used a thin, white or buff-colored ground to prepare the support. Infrared reflectography at 2.0-2.5 microns[1] revealed thin lines of underdrawing, which are most noticeable in the face, hair, hat, and flagpole. The thin paint was applied mostly using a wet-into-wet technique. Verspronck used some glazes, mostly in the red areas. He employed the butt end of his brush to scrape away the paint to create the details in the sitter’s lace and gloves. Numerous pentimenti are visible in normal light and with infrared reflectography, most notably: Stilte’s hat was moved up and to the right but the feathers were moved down and to the left; his face was moved to the left; and the angle of the standard was originally more vertical.
The painting is in good condition. The paint exhibits a heavy craquelure pattern, which has tented slightly, and minute losses are found at the intersections of the cracks. The paint is somewhat abraded in the shadows of the sitter’s hair and his hat, as well as his proper left thumb. Inpainting occurs in the sitter’s hair, in the curtain along the sitter’s proper left shoulder, and along the edges. The painting has not been treated since its acquisition.
[1] Infrared reflectography was performed using a Santa Barbara Focalplane InSb camera fitted with a K astronomy filter.
Bibliography
- 1920
- Martin, Wilhelm. Kurzgefasster Katalog der Gemälde- und Skulpturensammlung, Königliche Gemälde Galerie Mauritshuis. The Hague, 1920: 84, no. 753.
- 1921
- Martin, Wilhelm. Alt-holländische Bilder: Sammeln, Bestimmen, Konservieren. Berlin, 1921: 172-173.
- 1926
- Friedländer, Max J. Die Kunstsammlung von Pannwitz. 2 vols. Munich, 1926: 1:11-12, no. 54, pl. 43.
- 1976
- Yapou, Yonna. "Portraiture and Genre in a Painting Restored to Jan Verspronck." Israel Museum News 11 (1976): 41-46, fig. 7.
- 1979
- Ekkart, Rudolf E. O. Johannes Cornelisz. Verspronck: leven en werken van een Haarlems portretschilder uit de 17de eeuw. Exh. cat. Frans Halsmuseum, Haarlem, 1979: 40, 78, no. 19, repro. 150.
- 1990
- Sutton, Peter C. "Recent Patterns of Public and Private Collecting of Dutch Art." In Great Dutch Paintings from America. Edited by Ben P. J. Broos. Exh. cat. Royal Picture Gallery Mauritshuis, The Hague; Fine Arts Museums of San Francisco. Zwolle, 1990: 118, fig. 23.
- 1995
- Otto Naumann Ltd. Inaugural exhibition of old master paintings. Exh. cat. Otto Naumann Ltd., New York, 1995: 140, color repro.
- 2000
- National Gallery of Art. Art for the Nation: Collecting for a New Century. Exh. cat. National Gallery of Art, Washington, 2000: 34-35, color repro.
- 2000
- Weller, Dennis P. Like Father, Like Son? Portraits by Frans Hals and Jan Hals. Exh. cat. North Carolina Museum of Art, Raleigh, 2000: fig. 6, color repro.
- 2004
- Hand, John Oliver. National Gallery of Art: Master Paintings from the Collection. Washington and New York, 2004: 212-213, no. 170, color repro.
- 2007
- Ekkart, Rudolf E.O., and Quentin Buvelot. Dutch portraits: the age of Rembrandt and Frans Hals. Translated by Beverly Jackson. Exh. cat. National Gallery, London; Royal Picture Gallery Mauritshuis, The Hague. London, 2007: 220-221, no. 64, repro.
- 2008
- Buvelot, Quentin. "El retrato holandés." Numen 2 (2008): 14, 25, repro.
- 2009
- Ekkart, Rudolf E.O.. Johannes Verspronck and the Girl in Blue. Amsterdam, 2009: 20, 22, 58, color fig. 14.
- 2012
- Tummers, Anna. The Eye of the Connoisseur: Authenticating Paintings by Rembrandt and His Contemporaries. Amsterdam, 2012: 244, 245, color fig. 154.
- 2014
- Wheelock, Arthur K, Jr. "The Evolution of the Dutch Painting Collection." National Gallery of Art Bulletin no. 50 (Spring 2014): 2-19, repro.
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