Tag: Teylers Museum

Maarten van Heemskerck

Maarten van Heemskerck

Frans Hals Museum, Haarlem

28 September 2024 – 19 January 2025

The Frans Hals Museum, Stedelijk Museum Alkmaar and Teylers Museum will organize the first major retrospective exhibition on Maarten van Heemskerck. The Frans Hals Museum focuses on Heemskerck’s early career.

Maarten van Heemskerck was one of the most successful, innovative artists of the Northern Netherlands in the 16th century. In his lifetime, he saw the advent of Protestantism, new technology and the rise of the Dutch Republic. The changes that happened around him are reflected in his work: before it had been the Church, now burghers also patronised the arts, the impact of the Italian Renaissance reverberated in Holland and artists longed to see the art of Antiquity and their famous Italian contemporaries with their own eyes, while the iconoclastic cleansing of the churches brought a violent end to church art in the Northern Netherlands.

Saint Luke painting The Virgin (1532), Maerten van Heemskerck (Dutch, 1498 – 1574), 168x235cm, Frans Hals Museum, Haarlem.

In the Frans Hals Museum, the focus is on Maarten van Heemskerck’s early career. A comparison of his work with that of teachers and contemporaries such as Jan Gossaert and Jan van Scorel reveals how the up-and-coming, talented Heemskerck adopted and excelled in a remarkable new way of painting. This distinctly realistic style is clearly evident in the timeless portraits he painted for his increasingly successful burgher patrons. He depicted them with lifelike accuracy, down to the wrinkles and facial blemishes. Our exhibition concludes with his St Luke Painting the Virgin, the last work Heemskerck painted before leaving for Rome. It was one of the works Haarlem’s city council managed to save from the iconoclastic mob in 1566. A testimony to the high esteem in which Heemskerck was already held. St Luke Painting the Virgin has been restored specially for this exhibition and the spectacular result has revealed new insights into the way Heemskerck worked.

This year is the 450th anniversary of Maarten van Heemskerck’s death, then a wealthy, prominent burgher of Haarlem where he had settled after returning from Rome.

Hendrick Avercamp (1585 – 1634) and playing golf on ice

Hendrick Avercamp (1585 – 1634) and playing golf on ice

It’s winter. But the real winters are far behind us. When will we skate again on frozen rivers? Let’s have a look at the Dutch 17th century winter-wonderland paintings by Hendrick Avercamp. And let’s speak about those harsh winters and about the Dutch as the inventors of playing golf.

Hendrick Avercamp (1585 – 1634), “A Scene on the Ice” (c. 1625), 39x77cm, Oil on Panel, National Gallery of Art, Washington.

First about the harsh winters. In the 16th and 17th century a climatic shift happened, nicknamed “The Little Ice Age”. It was an era with severe winters that started early and lasted long. The frigid weather came with heavy snow, freezing temperatures, and the Dutch waterways and lakes were frozen for months. Avercamp specialized in painting winter scenes and he could draw and paint what he witnessed firsthand. In his paintings, people young and old, rich and poor, share the joy and the hardship of The Little Ice Age. Avercamp shaped our perception of the Dutch winter.

Hendrick Avercamp (1585 – 1634), “Winter Games on the Frozen River IJssel” (c. 1626), 20x33cm, Pen and Ink with Watercolor on Paper, National Gallery of Art, Washington.

Avercamp had a keen eye for detail. He captured children skating and gentlemen playing “kolf” on the ice. Avercamp emphasized the social contrast between the elegantly dressed kolf players, who were successful Amsterdam merchants, and the common people like fishermen and beggars. Peasants and tradesmen, young and old, men and women, on the ice everyone mingles and Avercamp knows how to tell those winter stories.

Hendrick Avercamp (1585 – 1634), “Winter Landscape with Skaters” (c. 1622), 19x31cm, Pen and Ink with Watercolor on Paper, Teylers Museum, Haarlem, The Netherlands.

The frozen rivers and lakes were the perfect place to play “kolf”. It’s a Dutch early form of golf, mainly played by the elite gentlemen. Kolf as a game was very popular in The Netherlands. It was played wherever there was space. Streets and public squares were favorite places, but city and church councils were not so happy with the cost of this sport, mainly the broken windows. There are many official ordinances, dating back to the 15th century, banning playing kolf from the narrow city streets and around churches. Kolf had to be played outside the municipal borders. And the severe winters offered the perfect solution. The kolf players took to the ice and found all the space (and joy) they needed for their game.

Hendrick Avercamp (1585 – 1634), “Enjoying the Ice near a Town” (c. 1620), 47x89cm, Oil on Panel, Rijksmuseum, Amsterdam.

The Dutch in the 17th century were leading in wool trading with Scotland and that’s how “kolf” migrated to the Scots, where it is played on their coastal sandy grasslands, as modern “golf” on modern golf courses. Scots are right in claiming the origin of nowadays version of golf, but it’s the Dutch who are the original inventors of the game, known then as kolf and as depicted many times by Hendrick Avercamp.

Hendrick Avercamp (1585 – 1634), “Kolfplayers on the Ice” (1625), 29x51cm, Oil on Panel, Collection Edward and Sally Speelman.