Andries Both, a notable figure of the Dutch Golden Age, carved a unique niche for himself as a painter and etcher. Though his life was tragically short, his work, particularly his contributions to the Bamboccianti movement in Rome, left an indelible mark. This exploration delves into the life, artistic milieu, significant works, and enduring, albeit modest, legacy of a talent extinguished too soon. His art provides a vivid window into the everyday existence of the 17th century, rendered with a characteristic blend of realism and empathetic humor.
Early Life and Artistic Formation in Utrecht
Andries Dircksz. Both was born in Utrecht, a vibrant artistic hub in the Dutch Republic, around 1612 or 1613. His father, Dirck Both, was a glass painter (glasschilder), suggesting an early immersion in an artistic environment. Utrecht, at this time, was a city with strong Catholic roots and, consequently, closer artistic ties to Italy than many other Dutch cities. This connection fostered a unique artistic climate, most famously exemplified by the Utrecht Caravaggisti – painters like Hendrick ter Brugghen, Gerrit van Honthorst, and Dirck van Baburen – who had traveled to Rome and returned with a dramatic, tenebrist style inspired by Michelangelo Merisi da Caravaggio.
Andries, along with his slightly younger brother Jan Both (c. 1618-1652), likely received his foundational artistic training from their father. However, for more formal instruction, it is widely believed that both brothers became pupils of Abraham Bloemaert. Bloemaert was a highly respected and versatile painter and draughtsman in Utrecht, known for his Mannerist and later classicizing works. He was a prolific teacher, and his studio was a crucible for many young talents. Training under Bloemaert would have exposed Andries to a wide range of subjects and techniques, providing a solid grounding for his future endeavors.
Even in these early stages, the distinct artistic personalities of the two brothers may have begun to emerge. While Jan would later become renowned for his idealized Italianate landscapes, Andries developed a keen interest in genre scenes, focusing on the lives of common people, particularly peasants. This inclination would fully blossom during his time in Italy.
The Allure of Italy: Journey to Rome
For artists of the Dutch Golden Age, Italy, and particularly Rome, held an irresistible allure. It was the cradle of classical antiquity and the High Renaissance, offering unparalleled opportunities for study and inspiration. Artists flocked there to sketch ancient ruins, study the masterpieces of Raphael and Michelangelo, and immerse themselves in a vibrant international artistic community. The journey itself was arduous, but the promise of artistic growth and potential patronage made it a rite of passage for many ambitious Northern European painters.
Andries Both is documented as having traveled to Rome by 1633. He likely made the journey via France, a common route. In Rome, he would have encountered a lively expatriate community of artists, especially from the Netherlands and Flanders. These artists often congregated in groups, offering mutual support and camaraderie. One such group was the "Bentvueghels" (Dutch for "birds of a feather"), a society of mostly Dutch and Flemish artists known for their bohemian lifestyle and initiation rituals, often involving mock ceremonies and bestowing a "bent" nickname upon new members. While it's not definitively recorded if Andries was an official member, he certainly moved within these circles.
Rome in the 1630s was a bustling artistic center under the patronage of the papacy and powerful families like the Barberini. While grand religious and mythological commissions dominated the official art scene, a new undercurrent was emerging, one that focused on the everyday life of the city's streets and countryside.
Embracing the Bamboccianti: A New Vision of Roman Life
It was in Rome that Andries Both found his true artistic calling, becoming closely associated with the Bamboccianti. This group of predominantly Dutch and Flemish genre painters was inspired and led by Pieter van Laer (1599 – c. 1642), a Dutch painter who had arrived in Rome around 1625. Van Laer was given the nickname "Il Bamboccio" (meaning "ugly doll" or "puppet") by the Italians, possibly due to a physical deformity or his unkempt appearance. His followers subsequently became known as the "Bamboccianti."
The Bamboccianti specialized in small-scale paintings and etchings depicting the everyday life of the Roman populace: peasants at work or leisure, street vendors, travelers at inns, artisans, and scenes from the Campagna, the countryside around Rome. Their work stood in stark contrast to the idealized and heroic subjects favored by the Italian academies and the classical tradition. Instead, they offered an unvarnished, often humorous, and sometimes gritty portrayal of ordinary people. Artists like Jan Miel, a Flemish painter active in Rome, and the Italian Michelangelo Cerquozzi, were prominent figures in this circle, each bringing their own nuances to the style.
Andries Both wholeheartedly embraced this new genre. His paintings and etchings from this period are characterized by their lively depiction of peasant life, often with a touch of caricature but also a deep sense of observation. He excelled at capturing the rustic charm and sometimes the boisterous, unrefined behavior of his subjects. His figures are typically robust, animated, and rendered with an earthy realism. This focus on low-life scenes was not always appreciated by art theorists who championed the "grand manner," but it found a ready market among collectors who appreciated its novelty and directness.
Collaboration with Jan Both
Andries was joined in Rome by his brother Jan Both around 1638. Jan, who had also likely studied with Bloemaert, was developing his distinct style of Italianate landscape painting, characterized by warm, golden light, picturesque scenery, and often, classical or biblical figures. The two brothers began a fruitful collaboration. It is generally accepted that in their joint works, Jan painted the luminous landscapes, while Andries was responsible for the staffage – the human and animal figures that populated these scenes.
This division of labor was not uncommon in the 17th century, allowing artists to specialize in their areas of strength. The combination of Jan's atmospheric landscapes and Andries's lively, genre-style figures created a harmonious and appealing synthesis. These collaborative pieces were well-received and contributed to the growing reputation of both brothers. Their styles, though different in focus, complemented each other effectively, with Andries's more rustic figures adding a touch of everyday reality to Jan's idealized settings. Other landscape artists of the period, like Jan Asselyn or later Karel Dujardin, also incorporated figures into their Italianate scenes, but the Both brothers' collaboration was particularly noted.
Mastery in Etching: Capturing the Vernacular
While Andries Both produced oil paintings, he is perhaps even more celebrated for his etchings. Etching, as a medium, allowed for greater spontaneity and a more direct expression of the artist's hand than engraving. Andries demonstrated considerable skill and a distinctive flair in this medium, creating prints that were both technically accomplished and thematically engaging.
His etchings primarily focus on peasant themes, similar to his paintings. They are often characterized by a lively, almost calligraphic line, a keen eye for detail, and a robust sense of humor. He depicted scenes of peasants carousing, working, or engaging in everyday activities, often with a slightly exaggerated, almost grotesque, quality that recalls the work of earlier Netherlandish artists like Adriaen Brouwer or Adriaen van Ostade, though Both developed his style in an Italian context.
One of his most famous series of etchings is "The Five Senses." Each print in this series uses a peasant scene to allegorically represent one of the senses. For instance, "Taste" might depict peasants feasting or drinking, while "Touch" could show a rustic surgeon performing a minor operation or, as in one notable example, a scene of tooth-pulling. These works are remarkable for their vivid characterizations and their ability to convey the essence of the subject with economy and wit.
Another notable etching is "A Peasant Drunk at the Table" (c. 1636). This work exemplifies his approach: a group of somewhat ragged peasants are shown in a tavern or outdoor setting, one clearly inebriated, others engaged in conversation or observing the scene. The figures are individualized, their postures and expressions conveying their state and character. There's a raw energy to these depictions, a sense of unvarnished reality that is central to the Bamboccianti ethos. His etchings, like those of the French master Jacques Callot who also depicted common life with sharp observation, were likely more affordable and thus reached a wider audience than his paintings.
Key Contemporaries and Artistic Connections
Andries Both's artistic journey was shaped by his interactions with a diverse group of contemporaries. In Utrecht, Abraham Bloemaert was a foundational influence. In Rome, Pieter van Laer was undoubtedly the most significant figure, providing the artistic framework within which Andries thrived.
Beyond Van Laer, the Bamboccianti circle included several other notable artists. Jan Miel (c. 1599-1663) from Flanders was a prolific painter of Roman street scenes, carnivals, and peasant life, often with a slightly more refined touch than Both. Michelangelo Cerquozzi (1602-1660), an Italian, was another key Bambocciante, known for his lively genre scenes and, later, battle paintings.
Other Dutch and Flemish artists active in Rome during this period, even if not strictly Bamboccianti, contributed to the rich artistic tapestry. Cornelis van Poelenburgh and Bartholomeus Breenbergh were earlier arrivals who specialized in small-scale Italianate landscapes, often with mythological or biblical figures, paving the way for later landscape painters like Jan Both. Michiel Sweerts (1618-1664), a Flemish painter who arrived in Rome a bit later, around 1646 (after Andries's death), also painted genre scenes and portraits with a distinctive, sensitive realism.
Karel Dujardin (1622-1678), though younger and arriving in Rome later, continued the tradition of Italianate landscapes with pastoral figures, sometimes echoing the Bamboccianti spirit. Anton Goubau (1616-1698), a Flemish painter, also spent time in Italy and depicted Roman market scenes and landscapes in a style related to the Bamboccianti. The broader context of Dutch genre painting, with artists like Adriaen Brouwer (known for his rowdy tavern scenes) and Adriaen van Ostade (who depicted peasant family life with more warmth), provides a parallel to Both's interests, though they primarily worked in the Netherlands. Willem Buytewech, an earlier innovator in Dutch genre scenes and etchings, also explored themes of everyday life and social gatherings.
The Final Years and Tragic Demise in Venice
After several productive years in Rome, Andries and Jan Both decided to return to the Netherlands. Their journey took them through Venice, another major artistic center in Italy, renowned for its unique light, colorito tradition, and vibrant cultural life. However, their stay in Venice was cut tragically short for Andries.
In March 1641 (some sources suggest 1642, but 1641 is more commonly cited), Andries Both drowned in a canal in Venice. The exact circumstances of his death remain somewhat obscure. Accounts suggest he may have been returning home late from a festivity. At the age of approximately 29, his promising career came to an abrupt and untimely end. This tragic event deeply affected his brother Jan, who continued his journey back to Utrecht, where he became a highly successful painter, though he too died relatively young in 1652. The specific cause of Andries's drowning, whether an accident like falling from a bridge or boat, or another misfortune, is not detailed in historical records, though drowning was a not-infrequent cause of death in the canal city.
Legacy and Artistic Significance
Andries Both's career spanned less than a decade, yet he made a distinctive contribution to 17th-century art. His primary significance lies in his role within the Bamboccianti movement. He was one of the early and enthusiastic adopters of Pieter van Laer's approach, helping to popularize genre scenes depicting Roman low-life. His work, particularly his etchings, disseminated these themes and stylistic features to a wider audience.
While he might be overshadowed by his brother Jan in terms of overall fame, or by Pieter van Laer as the progenitor of the Bamboccianti, Andries's individual talent is undeniable. His figures are often more robust and earthy than those of some other Bamboccianti, possessing a raw vitality and humor. He had a particular gift for capturing expressive gestures and physiognomies, bringing his peasant subjects to life with an unsentimental yet empathetic eye.
His early death undoubtedly curtailed what might have been a more substantial oeuvre and a more profound impact. However, his existing works, especially the etchings, are valued by collectors and museums for their artistic quality and as important examples of Bamboccianti art. They offer a fascinating glimpse into the underbelly of Baroque Rome, a world far removed from the grandeur of papal commissions but equally vibrant and human.
In modern art historical reassessment, Andries Both is recognized for his skillful draughtsmanship, his lively compositions, and his contribution to the diversification of subject matter in the 17th century. He stands as a testament to the many talented artists of the Dutch Golden Age who sought inspiration abroad and, in doing so, enriched both their native and adoptive artistic cultures.
Conclusion
Andries Both was a shooting star in the firmament of Dutch and Italian art of the 17th century. Born into an artistic family in Utrecht, honed by masters like Abraham Bloemaert, and finding his voice amidst the bustling, earthy life of Rome, he embraced the Bamboccianti ethos with vigor and skill. His paintings and, most notably, his etchings, such as "A Peasant Drunk at the Table" and "The Five Senses" series, capture the raw, unvarnished, and often humorous reality of peasant life. His collaboration with his brother Jan Both showcased a harmonious blend of figure and landscape. Though his life was tragically cut short by drowning in Venice at a young age, Andries Both left behind a body of work that continues to engage and inform, securing his place as a significant, if sometimes overlooked, talent of the Baroque era. His art remains a vital window onto the everyday world, rendered with a distinctive blend of keen observation and spirited execution.
