Rijksmuseum

Object data

graphite; framing line in graphite

height 173 mm × width 117 mm

Inscriptions

inscribed on verso, in pencil: lower centre, in a nineteenth-century or later hand, 3; below that, Averkamp; lower right, 26.168 / b 113
stamped on verso: lower centre, with the mark of the museum (L. 2228)

Technical notes

watermark: none

Condition

Paper discoloured to light brown; a large, brown stain at upper right

Provenance

…; acquired by the museum (L. 2228), from the dealer F. Muller, Amsterdam, 1886

Object number: RP-T-1886-A-684

Credit line: Purchase

The artist

Hendrick Avercamp (Amsterdam 1585 – Kampen 1634)

The eldest son of the apothecary Barent Hendricksz Avercamp (1557-1602) and Beatrix Peters Vekemans (c. 1563-1633), he was baptized in the Oude Kerk in Amsterdam on 27 January 1585.¹ In 1586 his father became the town apothecary of Kampen, and the family moved there. Hendrick has long been assumed to have been deaf and mute from birth, since he was commonly known as ‘de Stom’ or ‘de Stomme’ (‘the Mute’). Because one of the buyers at the 1607 studio sale of Pieter Isaacsz (1568-1625) in Amsterdam is mentioned as ‘de stom tot Pieter Isacqs’ (‘the mute at Pieter Isaacz’s’),² it is thought that Avercamp was sent to Amsterdam to live and study with the history and portrait painter Pieter Isaacsz, who returned to his native Denmark in that year. By January 1613, but probably earlier, Avercamp must have returned to Kampen, where he remained for the rest of his life. Shortly before his mother died, she expressed in her will her concern about her unmarried eldest son, Hendrick, who she called ‘stom en miserable’ (‘mute and wretched’).³ Hendrick was buried on 15 May 1634 in the Bovenkerk (or St Nicolaaskerk) in Kampen.⁴

Avercamp painted and drew mainly winter scenes, which in the seventeenth century were called ‘wintertjes’. His early paintings, executed in 1608 and 1609, show the influence of Flemish landscape painters, such as Hans Bol (1534-1593), Gillis van Coninxloo (1544-1607) and David Vinckboons I (1576-1631/33), and a strong interest in narrative details in the tradition of Pieter Bruegel I (c. 1528-1569). The Flemish influence became less noticeable in his later works, with the horizon lines being lower and the perspective more natural. Although best known for his winter landscape paintings, he also drew and painted some summer and river landscapes.

Hendrick Avercamp was a prolific draughtsman, who worked mostly in pen, chalk and watercolour, creating figure studies that were recycled repeatedly in his paintings, as well as fully worked-out drawings as detailed as his paintings. The latter works were probably intended for sale. Paintings by artists such as Arent Arentsz (1585/86-1631), Adam van Breen (c. 1585-after 1642), Antonie Verstralen (c. 1594-1641) and Hendrick’s nephew Barent Avercamp (1612/13-1679) strongly resemble his work, but it is unclear whether those artists were taught by him or simply imitated his work.

Jan-Piet Filedt Kok, 2007

REFERENCES
E. Bénézit, ‘Hendrick Avercamp’, in U. Thieme and F. Becker, Allgemeines Lexikon der bildenden Künstler von der Antike bis zur Gegenwart, 37 vols., Leipzig 1907-50, II (1908), pp. 276-77; C.J. Welcker, Hendrick Avercamp (1585-1634), bijgenaamd ‘De Stomme van Campen’ en Barent Avercamp (1612-1679). ‘Schilders tot Campen’, Zwolle 1933, pp. 33-71; C.J. Welcker and D.J. Hensbroek-van der Poel, Hendrick Avercamp (1585-1634), bijgenaamd ‘De Stomme van Campen’ en Barent Avercamp (1612-1679). ‘Schilders tot Campen’, Doornspijk 1979, pp. 33-71; A. Blankert, Hendrick Avercamp (1585-1634), Barent Avercamp (1612-1679): Frozen Silence: Paintings from Museums and Private Collections, exh. cat. Amsterdam (Waterman Gallery)/Zwolle (Provinciehuis Overijssel) 1982-83, pp. 15-36; D.J. Hensbroek-van der Poel, ‘Hendrick Avercamp’, in Saur Allgemeines Künstlerlexikon: Die bildenden Künstler aller Zeiten und Völker, 94 vols., Munich 1992-, V (1992), pp. 728-29; D.J. Hensbroek-van der Poel, ‘Avercamp Family’, in J. Turner (ed.), The Dictionary of Art, 34 vols., London/New York 1996, II, pp. 854-55; J. Bikker, ‘Hendrick Avercamp: “The Mute of Kampen”, in P. Roelofs et al., Hendrick Avercamp: Master of the Ice Scene, exh. cat. Amsterdam (Rijksmuseum)/Washington (DC) (National Gallery of Art) 2009-10, pp. 11-21

Entry

Oddly enough, Avercamp’s extant oeuvre contains very few sketches executed in graphite alone, of the sort that one imagines that he would have done from life by the score. This sheet displays his assured draughtsmanship, capturing the figure in sweeping, bold lines over an exploratory sketch. An entry in the estate inventory of Jan van de Cappelle (1626-1679) reads: ‘306 schetsen van de Stom van Campen’ (‘306 sketches by the Mute of Kampen’)⁵, and it is tempting to think that these ‘sketches’ were of the same type as this drawing of a duck hunter. If so, many sheets have been lost in the intervening three centuries.

The fowler, who is so well wrapped up against the winter cold that only his eyes and nose are showing, is seen in different poses in several paintings and worked-up, coloured drawings, such as the museum’s Winter Landscape with a Duck-hunter with Game in his Belt and his Gun over his Shoulder on the Bank of a Frozen River (inv. no. RP-T-1898-A-3738). It is reasonable to assume that Avercamp drew his models from several different angles. Since the fowler appears in a painting currently on loan to the Rijksmuseum from a private collection (inv. no. SK-C-1705), which is datable circa 1620,⁶ there is every reason to assume that this sheet predates it. In that painting, as in the museum’s related coloured drawing, the hunter’s face is uncovered.

Marijn Schapelhouman, 1998

Literature

C.J. Welcker, Hendrick Avercamp (1585-1634), bijgenaamd ‘De Stomme van Campen’ en Barent Avercamp (1612-1679). ‘Schilders tot Campen’, Zwolle 1933, no. T 13; J.G. van Gelder, De schoonheid van ons land. Beeldende kunsten, prenten en tekeningen, Amsterdam 1958, p. 94 (fig. 36); C.J. Welcker and D.J. Hensbroek-van der Poel, Hendrick Avercamp (1585-1634), bijgenaamd ‘De Stomme van Campen’ en Barent Avercamp (1612-1679). ‘Schilders tot Campen’, Doornspijk 1979, no. T 13; P. Schatborn, Dutch Figure Drawings from the Seventeenth Century, exh. cat. Amsterdam (Rijksprentenkabinet)/Washington (DC) (National Gallery of Art) 1981-82, pp. 44 (fig. 1), 129 (no. 1); M. Schapelhouman and P. Schatborn, Dutch Drawings of the Seventeenth Century in the Rijksmuseum, Amsterdam: Artists Born between 1580 and 1600, 2 vols., coll. cat. Amsterdam 1998, no. 5; P. Roelofs et al., Hendrick Avercamp: Master of the Ice Scene, exh. cat. Amsterdam (Rijksmuseum)/Washington (DC) (National Gallery of Art), 2009-10, pp. 104 (fig. 129), 105

Citation

M. Schapelhouman, 1998, 'Hendrick Avercamp, Study of a Standing Duck Hunter, Leaning on his Gun, before 1620 - 1620', in J. Turner (ed.), Dutch Drawings of the Seventeenth Century in the Rijksmuseum, online coll. cat. Amsterdam: hdl.handle.net/10934/RM0001.COLLECT.27161

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