Satyrs Peeping at Nymphs

Cornelis van Poelenburch (Utrecht 1594/95 - Utrecht 1667)

Van Poelenburch’s date of birth can be established on the basis of a document dated 21 January 1601 stating that he was six years old at the time. He was the son of Simon van Poelenburch (d. 1596), a Roman Catholic canon of Utrecht Cathedral. According to Von Sandrart, Van Poelenburch trained with Abraham Bloemaert. By 1617 he was in Rome, where he signed a poem in the album amicorum of Wybrand de Geest. He was one of the founding members of the Schildersbent (Band of Painters) where he adopted the sobriquet ‘Satiro’, evidently bestowed on him because of the subjects of many of his pictures. Van Poelenburch’s earliest known works are two drawings dated 1619, which according to their inscription ‘te tievele’, were drawn in the Tiburtine hills.⁴ His first dated painting, the View of the Campo Vaccino is from 1620.⁵ According to Von Sandrart, Van Poelenburch was also in Florence, where he was employed by Cosimo II, Grand Duke of Tuscany. He is recorded in Rome in 1622, but it is not known how long he remained in Italy. On 6 April 1627 he is recorded for the first time back in Utrecht, where he negotiated the purchase of one of his pictures, the Banquet of the Gods, by the States of Utrecht.⁶ Two years later he married Jacomina van Steenre. According to an inscription on a drawing of the Bastille he was in Paris in 1631.⁷ He lived in London from 1637 to 1641, returning to Utrecht at least once in 1638. Later in his career he held prominent positions in the Utrecht Guild of St Luke (warden in 1656, dean in 1657-58 and 1664). He was buried in the city’s Magdalena Kerk on 12 August 1667.

Van Poelenburch received commissions from important patrons, amongst whom Frederick V, Elector of the Palatinate, and Charles I of England. Together with Abraham Bloemaert, Herman Saftleven and Dirck van der Lisse, he worked on four scenes from Guarini’s Il pastor fido for Stadholder Frederik Hendrik at Honselaarsdijk (c. 1633), and Frederik Hendrik owned 12 paintings by him, the largest number by a single artist. His most important patron was fellow townsman Willem Vincent, Baron van Wyttenhorst, for whom he painted at least 55 cabinet pieces.

Van Poelenburch is considered to be one of the first Italianate painters and his work had a profound influence on the generation that came after him. Throughout his career he painted cabinet pieces of Italianate landscapes with mythological or religious subjects, or populated with pastoral figures and bathers. Almost exclusively on copper or panel, their painted surfaces have a porcelain smoothness. Several portraits by his hand are known, also in a small format. On several occasions Van Poelenburch painted the figures in the work of other artists, such as Alexander Keirincx, Jan Both, Bartholomeus van Bassen, Dirck van Delen and Hendrik Steenwijck II.

Houbraken is the first to record Van Poelenburch’s pupils: Dirck van der Lisse (1607-69), Daniel Vertangen (1598-1681/84), Johan van Haensbergen (1642-1705), Toussaint Gelton (c. 1630-80), François Verwilt (c. 1620-91), Warnard van Rysen (c. 1625-after 1665) and the otherwise unknown Willem van Steenree. Their work is often so close to that of their master that it is hard to tell apart, particularly when signed with Van Poelenburch’s monogram. Jan Gerritsz van Bronckhorst (c. 1603-61) made a number of prints after Van Poelenburch’s designs.

Taco Dibbits, 2007

References
De Bie 1661, pp. 256-57; Von Sandrart 1675 (1925), p. 175; Houbraken I, 1718, pp. 128-30; Sluijter-Seijffert 1984, pp. 25-36, 249-58 (documents); Bok 1985; Chong 1987, pp. 3-14; Schatborn in Amsterdam 2001, pp. 57-65; Boers 2004 (with transcribed inventory of the collection of Willem Vincent, Baron van Wyttenhorst)