Aert Schouman stands as a significant figure in 18th-century Dutch art, a period often overshadowed by the preceding Golden Age but rich with its own distinct character. Born in Dordrecht in 1710, Schouman navigated a changing artistic landscape, becoming renowned not only as a painter but also as a masterful glass engraver, a dedicated teacher, an art dealer, and a meticulous chronicler of his time. His prolific career, spanning much of the century until his death in The Hague in 1792, left a legacy particularly strong in the field of natural history illustration, blending scientific accuracy with decorative elegance.
Early Life and Artistic Formation in Dordrecht
Aert Schouman's journey into the world of art began in his native city of Dordrecht, a historically important center for Dutch painting. At the age of fifteen, a common starting point for apprenticeships at the time, he entered the studio of the local painter Adriaen van der Burg. Van der Burg (1693-1733), though perhaps not as widely known today as some Golden Age masters, provided Schouman with a solid foundation in the techniques of painting, likely covering portraiture, genre scenes, and perhaps the decorative arts prevalent in the region.
This initial training grounded Schouman in the established practices of Dutch art. However, his artistic curiosity extended beyond the canvas. He also sought instruction in the delicate art of glass engraving, learning from Frans Greenwood. Greenwood was himself a noted practitioner of stipple engraving on glass, a technique involving creating images through a multitude of tiny dots, allowing for subtle gradations of tone. Frans was the son of Cornelis Greenwood, another significant figure in the development of this art form, indicating Schouman was learning from a lineage skilled in this specialized craft.
Dordrecht remained Schouman's base for the early part of his career. He was not merely a solitary artist but actively engaged with the local artistic community. In 1736, he played a key role in establishing the Brotherhood of Saint Luke (Confrerie van Sint Lucas) in Dordrecht. This society served as a meeting point for both professional and amateur artists, fostering collaboration and discussion. Schouman's leadership qualities were evident, as he later served as the head of this brotherhood for a decade, from 1752 to 1762, even after relocating.
Versatility in Subject and Medium
Schouman's artistic output was remarkably diverse, reflecting the varied demands and opportunities available to an artist in the 18th century. While he is best remembered today for his natural history subjects, his repertoire was far broader during his lifetime. He tackled traditional themes, including biblical narratives and scenes drawn from classical mythology, demonstrating his ability to handle complex compositions and historical subjects valued in academic traditions.
Still life, a genre deeply rooted in Dutch art history, also featured in his work. Following in the footsteps of masters like Jan Davidsz. de Heem or Willem Kalf from the previous century, Schouman would have applied his meticulous observation skills to arrangements of objects, though his primary focus would eventually shift towards living nature. He also produced portraits, a staple for many artists seeking commissions.
His technical skills were equally varied. He worked proficiently in oils, the dominant medium for easel painting. However, he became particularly celebrated for his works in watercolor and gouache, especially on paper or vellum. These media were ideally suited for the detailed rendering required in natural history illustration, allowing for vibrant color and fine lines. Furthermore, his skills extended to printmaking, including etching and likely mezzotint, enabling wider dissemination of his images. Drawing was fundamental to all his work, serving as both preparatory study and finished art form.
The Turn Towards Natural History
A defining characteristic of Schouman's mature career was his deep engagement with the natural world. His shift towards specializing in depictions of birds, animals, and occasionally plants, aligns perfectly with the burgeoning scientific curiosity of the Enlightenment era. The 18th century saw increased interest in cataloging, classifying, and understanding nature, fueled by global exploration and the establishment of natural history collections.
Schouman's work in this field was exceptional. He possessed a keen eye for detail and a remarkable ability to capture the specific characteristics of different species – the texture of feathers, the posture of an animal, the precise coloration. His bird paintings, in particular, are considered among the finest produced in the Netherlands during this period. He didn't merely create static representations; his subjects often appear lively and engaged with their environment, perched on branches or interacting subtly with their surroundings.
This focus was supported by access to specimens. Aristocratic and wealthy patrons often maintained private menageries or aviaries, collecting exotic birds and animals brought back from Dutch colonies and trading posts around the world. Schouman gained access to these collections, allowing him to study creatures firsthand that would otherwise have been inaccessible. This direct observation lent an authenticity and vitality to his work that set it apart.
Patronage and Institutional Leadership: William V and The Hague Academy
A significant boost to Schouman's career, particularly his natural history work, came from his association with William V, Prince of Orange. The Prince maintained extensive menageries and aviaries, notably at Het Loo Palace. Schouman received commissions to document the Prince's collection, creating a visual inventory of the rare and exotic species housed there. These studies were not just scientifically valuable but also artistically accomplished, showcasing the beauty and diversity of the natural world under the Prince's patronage.
Many of these detailed watercolors and drawings were compiled into albums, sometimes referred to collectively or individually as a "Vogelboek" (Bird Book). These collections served as important records and prestigious displays of the Prince's possessions. Schouman's work for William V solidified his reputation as the leading natural history painter in the Dutch Republic at the time.
In 1753, Schouman made a significant move from Dordrecht to The Hague. This relocation placed him at the administrative and social heart of the Dutch Republic, offering greater opportunities for patronage and influence. His standing within the artistic community was confirmed when he took on a leading role at the Hague Drawing Academy (Haagsche Teekenacademie). He served as its principal or director, guiding the institution responsible for training the next generation of artists. This position underscored his respected status and his commitment to art education.
Mastery in Glass Engraving
Alongside his painting and drawing, Aert Schouman excelled in the art of glass engraving. Building on the techniques learned from Frans Greenwood, he developed his own refined style. He primarily used the stipple engraving method, meticulously tapping the glass surface with a diamond or hardened steel point to create patterns of dots. By varying the density and size of these dots, he could achieve remarkable effects of light, shadow, and texture, particularly suitable for delicate subjects.
His engraved glasses often featured motifs similar to those in his paintings – birds, flowers, insects, and sometimes portraits or allegorical scenes. These were luxury items, commissioned by wealthy clients for display or special occasions. Goblets, wine glasses, and decorative panels became canvases for his intricate artistry. His work in this medium rivaled that of his teacher and contributed significantly to the appreciation of Dutch glass engraving in the 18th century. The precision required for glass engraving undoubtedly honed the observational skills evident in his paintings and drawings.
Representative Works: A Glimpse into Schouman's World
While many of Schouman's works were integrated into decorative schemes or held in private collections, several specific pieces highlight his skill and typical subjects:
Studies of Birds: Numerous watercolors exemplify his mastery in ornithological illustration. Works like Night Heron (Adult and Juvenile), A Goshawk perched on a branch, looking left, A Red-winged Blackbird with another bird, A Male and Female Turtle Dove, and A Red-billed Parrot grasping a branch showcase his ability to capture distinct species with accuracy and liveliness. He often depicted birds in characteristic poses against minimal backgrounds, focusing attention on the creature itself.
Exotic Animals: His access to menageries allowed him to depict animals from distant lands. A Llama standing on rocks demonstrates his skill in rendering mammals with the same precision he applied to birds. African Harrier-Hawk and Black-headed Caique combines different species, perhaps reflecting the contents of a specific collection or creating a dynamic composition.
Other Natural History: His interest wasn't limited to birds and mammals. An African Tree Frog shows his capability in depicting amphibians, again likely drawn from life or preserved specimens available through collections.
Decorative Designs: Beyond easel paintings and glass, Schouman designed larger decorative elements. Evidence suggests he created designs for tapestries, wallpaper panels, and possibly other objects like fans or snuffboxes, integrating his natural history motifs into interior decoration schemes. This versatility was crucial for an artist's economic survival and reputation.
These examples underscore his focus on detailed observation, his preference for watercolor and gouache for natural history subjects, and his ability to adapt his style across different scales and media, from intimate glass engravings to potentially large wall decorations.
Schouman as Teacher and Mentor
Through his role at the Hague Drawing Academy and potentially through private instruction, Aert Schouman directly influenced a number of artists. His students learned his meticulous techniques and likely absorbed his dedication to observation, particularly concerning nature. Among those recorded as his pupils are:
Jan van Os (1744-1808): Perhaps his most famous student, Jan van Os became a highly successful painter of flower and fruit still lifes, carrying forward the Dutch tradition of detailed naturalism, albeit with a slightly more opulent late 18th-century sensibility.
Martinus Schouman (1770-1848): Aert's great-nephew, Martinus followed in his great-uncle's footsteps, becoming known primarily as a marine painter, demonstrating the continuation of artistic practice within the family.
Other Pupils: Records also list Wouter Dam, Jabes Heenck, Dirk Kuipers, Pieter Willem van Megen, Nicolaes Muys, Jan Willem Snoek, Rutger Moens Taats, Wilhelmus Vincentius, and Jacobus von Forkenbeck (or Forken) as having studied under him. While less famous than Jan van Os, their training with Schouman indicates his active role in shaping the next generation of Dutch artists.
His influence extended beyond direct tutelage. His widely admired natural history illustrations set a standard for scientific accuracy combined with aesthetic appeal, potentially inspiring other artists working in similar fields across Northern Europe.
Travels, Collections, and the Artist's Diary
Schouman was not confined solely to the Netherlands. Records indicate he made at least two trips to England. These journeys were likely undertaken partly for professional development – to see collections, meet other artists, and experience a different art market – but also in his capacity as an art dealer and collector. Many Dutch artists supplemented their income by trading artworks, and Schouman appears to have been active in this sphere, leveraging his connoisseurship.
A particularly valuable resource for understanding Schouman's life and work is the detailed diary he kept for a significant portion of his career, specifically from October 16, 1733, to November 16, 1753. Such documents are relatively rare for artists of this period and provide invaluable insights into his daily activities, commissions, financial transactions, artistic concerns, and interactions with patrons and fellow artists. This diary offers a window into the practical realities of being a successful artist in the 18th-century Dutch Republic.
Context: Art in the 18th-Century Netherlands
Aert Schouman worked during a complex period for Dutch art. The phenomenal artistic boom of the 17th century, the Dutch Golden Age associated with names like Rembrandt, Vermeer, and Frans Hals, had passed. The 18th century is sometimes characterized as a period of lesser originality, yet it possessed its own distinct artistic culture. There was a continued appreciation for the meticulous realism and genre diversity of the Golden Age, but tastes also shifted, influenced by international trends like the French Rococo, albeit often in a more restrained Dutch manner.
Patronage structures were evolving. While the wealthy merchant class remained important buyers, aristocratic and princely patrons like William V played a significant role, particularly in commissioning large-scale decorative projects and specialized works like Schouman's natural history illustrations. Academies, like the one Schouman directed in The Hague, gained importance in standardizing training and upholding artistic standards.
The Enlightenment's emphasis on reason, observation, and classification profoundly impacted subjects like natural history. Artists like Schouman were perfectly positioned to bridge the worlds of art and science, creating works that were both aesthetically pleasing and informative. His detailed depictions of flora and fauna served the era's desire to understand and order the natural world, continuing a tradition of scientific illustration seen earlier in artists like Maria Sibylla Merian, but adapted to 18th-century tastes and opportunities. Other Dutch contemporaries included painters like Cornelis Troost, known for his genre scenes and theatrical subjects, and the later flower painters like Jan van Huysum and Rachel Ruysch whose careers overlapped Schouman's earlier years, setting high standards for naturalistic detail.
Schouman and His European Contemporaries
While deeply embedded in the Dutch art scene, Schouman worked concurrently with major figures across Europe. In France, this was the era of Rococo masters like François Boucher (1703-1770) and Jean-Honoré Fragonard, known for their lighthearted, decorative, and often sensuous paintings. Jean-Baptiste-Siméon Chardin (1699-1779), also in France, offered a contrasting vision with his quiet, intimate still lifes and genre scenes emphasizing bourgeois life. In Italy, view painters like Canaletto and Francesco Guardi captured the vedute of Venice, while Giovanni Battista Tiepolo created vast, airy frescoes.
There is no evidence of direct contact or collaboration between Aert Schouman and prominent French artists like Boucher or Chardin. Schouman's artistic world, while aware of broader European trends, remained primarily focused on the traditions and markets of the Netherlands and, to some extent, England through his travels. His style, rooted in Dutch observational realism, differs significantly from the prevailing Rococo aesthetic in France, though his decorative work might show subtle influences in its elegance and integration into interiors. His scientific naturalism aligns more closely with the Enlightenment currents felt across Europe than with specific stylistic exchanges with Parisian studios.
Evolution of Style and Lasting Techniques
Schouman's artistic style evolved throughout his long career. His early works likely reflected the style of his teacher, Adriaen van der Burg, possibly incorporating elements of late Baroque or early Rococo decorative painting. The shift towards natural history brought a greater emphasis on precision, clarity, and fidelity to the subject. His watercolors became particularly refined, characterized by delicate lines, careful layering of washes to build up color and form, and often the use of gouache (opaque watercolor) for highlights or specific textures.
He developed specific techniques, particularly for rendering feathers, which gave his bird illustrations a remarkable sense of lightness and realism. His mastery of stipple engraving on glass also represents a high point of technical skill in a demanding medium. Throughout his career, his work maintained a balance between scientific accuracy and decorative appeal. Even his most precise natural history studies possess an undeniable elegance and compositional harmony. He understood how to make detailed observation visually engaging.
Legacy and Recognition
Aert Schouman was highly regarded during his lifetime, enjoying princely patronage and holding prestigious positions within the Dutch art establishment. His works were sought after by collectors who valued both their beauty and their connection to the natural world and scientific discovery. His influence extended through his students, most notably Jan van Os, who adapted his teacher's naturalism to the popular genre of flower painting.
His legacy today is strongest in the field of natural history illustration. His meticulous and beautiful depictions of birds and animals are recognized as outstanding examples of 18th-century scientific art. They provide valuable records of species, including some that may have been rare or exotic at the time, and document the contents of important historical collections like that of William V. His work invites comparison with later masters of ornithological art, such as the renowned John James Audubon, although Schouman's context and typical scale were different.
Despite his contemporary success, Schouman's name might be less familiar today than those of some Golden Age predecessors. This could be partly attributed to the nature of his work. Many of his paintings were created as part of decorative schemes – integrated into wall paneling, used as overdoors, or designed as wallpaper – and thus remained fixed in specific locations rather than circulating as independent easel paintings. His glass engravings, being fragile luxury items, also had a more limited audience. However, significant collections of his works on paper and his engravings are preserved in major museums, including the Rijksmuseum in Amsterdam, the Teylers Museum in Haarlem, and various print rooms and libraries worldwide, ensuring his contribution is not forgotten.
Conclusion: An Enduring Contribution
Aert Schouman navigated the artistic currents of the 18th century with remarkable skill and versatility. From his beginnings in Dordrecht to his influential position in The Hague, he mastered multiple media – oil painting, watercolor, gouache, drawing, printmaking, and glass engraving. While adept at various subjects, his passion for the natural world, fueled by the spirit of the Enlightenment and supported by elite patronage, led him to create some of the finest natural history illustrations of his era. As a painter, engraver, designer, teacher, and chronicler, Schouman left an indelible mark on Dutch art, embodying the fruitful intersection of scientific inquiry and artistic elegance that characterized much of the 18th century. His works continue to charm and inform, offering a detailed and beautiful window onto the natural world as seen through the eyes of a Dutch master.
