Portrait of an Officer

Wybrand de Geest (Leeuwarden c. 1592 - Leeuwarden 1661/65)

Wybrand de Geest was probably born in Leeuwarden on 16 August 1592, going by the inscription on the back of his self-portrait (SK-A-1780) in the Rijksmuseum. It is likely that he received his initial training from his father, Simon Juckes de Geest, a glasspainter. It emerges from the contributions to his album amicorum that he trained with Abraham Bloemaert in Utrecht in 1613-14, and the same source shows that he travelled for seven years after completing his apprenticeship, and visited Paris and Aix-en-Provence. He spent most of his time in Rome, however, where he stayed from 1616. In the Schildersbent (Band of Painters) there he was given the nickname ‘The Frisian Eagle’, according to Houbraken because of his ‘high flight in art’. He was still in Rome in 1620, but was back in Leeuwarden in 1621, for in that year he painted the group portrait of the local Verspeeck family.² He was to spend the rest of his life in Leeuwarden. A Catholic, he married before the magistrate on 19 October 1622, his bride being Hendrickje Uylenburgh. One of Hendrickje’s cousins was the father of Saskia, Rembrandt’s wife. De Geest moved in lofty circles, was himself not without means, served as a regent of a charitable institution in 1639, and bore a coat of arms. His children and grandchildren even felt that they belonged to the Frisian aristocracy. His praises were sung by the poet Joost van den Vondel while he was still alive, and several eulogies were written about portraits of his. It is not known when he died, but it was between 1661 and 1665. His last works date from 1660, and there is also a letter he wrote in 1661. In 1665 his wife was recorded as being a widow.

Although Houbraken called him a ‘fine history and portrait painter’, almost all his surviving works are portraits. After his return from Rome he became the favourite portrait painter of Ernst Casimir of Nassau-Dietz (later Stadholder of Friesland) and his wife Sophia Hedwig of Braunschweig-Wolfenbüttel, of their son Hendrik Casimir, and of the landed aristocracy of Friesland. Fragments from the diaries of Hendrik’s brother, Willem Frederik, record that he visited De Geest on more than one occasion ‘to have myself painted’. De Geest must have had a studio with assistants, given the many commissions he received, of which copies were often made. His pupils included Jacob Potma (c. 1610-80) and his son Julius Franciscus de Geest (?-1699). In the course of 40 years his portraiture evolved from the solemn, formal manner of Van Mierevelt and Van Ravesteyn to a more modern, fashionable style.
Yvette Bruijnen, 2007

References
Houbraken I, 1718, pp. 147-48; Campo Weyerman I, 1729, pp. 377-78; Descamps I, 1753, pp. 402-03; Hofstede de Groot 1889a; Hofstede de Groot in Thieme/Becker XIII, 1920, pp. 331-33; Wassenbergh 1967, pp. 37-40; De Vries 1982, pp. 9-11; Visser/Van der Plaat 1995, pp. 375, 479; De Vries in Turner 1996, XII, p. 233