Anselmus van Hulle, a name perhaps not as universally recognized as some of his Dutch Golden Age contemporaries, was nevertheless a pivotal figure in 17th-century European art, particularly renowned for his portraiture. Operating at the intersection of art, diplomacy, and commerce, Van Hulle left an indelible mark through his depictions of some of the most influential figures of his time, most notably the delegates of the historic Peace Congress of Münster. His work not only captured likenesses but also served as a visual record of a transformative period in European history.
Early Life and Artistic Formation in Ghent
Anselmus van Hulle was born in 1601 in Ghent, a city in the Southern Netherlands (Flanders) with a rich artistic heritage. Born into a prosperous family, he likely received a solid education, which would have been beneficial for his later interactions with aristocratic and diplomatic circles. The artistic environment of Ghent, and nearby Antwerp, was vibrant. By 1620, Van Hulle was enrolled as a master in the Guild of Saint Luke in Ghent, a standard step for any aspiring professional painter. Membership in the guild signified that he had completed his training and was qualified to take on apprentices and sell his work independently.
While concrete details of his apprenticeship are somewhat scarce, it is widely believed, and often stated, that he may have studied under Gaspar de Crayer (1584-1669). De Crayer was a highly respected Flemish Baroque painter, himself a native of Antwerp but active in Brussels and Ghent. He was known for his large altarpieces and portraits, influenced by the grandeur of Peter Paul Rubens (1577-1640) and the refined elegance of Anthony van Dyck (1599-1641). If Van Hulle did train with De Crayer, he would have been immersed in the prevailing Baroque style, characterized by dynamic compositions, rich colors, and a dramatic use of light and shadow, all of which would inform his later portrait work. The influence of earlier Netherlandish portrait traditions, perhaps from artists like Michiel Jansz. van Mierevelt (1567-1641) of Delft, known for his prolific and meticulous likenesses, might also have played a role in shaping his approach to capturing individual character.
Rise to Prominence: Court Painter to Frederick Henry
Van Hulle's talent did not go unnoticed. He eventually became a court painter to Frederick Henry, Prince of Orange (1584-1647), the Stadtholder of Holland, Zeeland, Utrecht, Guelders, and Overijssel. This was a significant appointment, placing Van Hulle in the orbit of one of the most powerful figures in the Dutch Republic. Frederick Henry was a notable patron of the arts, and his court at The Hague was a center of cultural activity. Artists like Gerard van Honthorst (1592-1656), famous for his Utrecht Caravaggisti scenes and later for his elegant court portraits, and Jan Lievens (1607-1674), a contemporary of Rembrandt, also enjoyed the Prince's patronage.
For Frederick Henry and the House of Orange-Nassau, Van Hulle produced numerous portraits. Among these, a series of five equestrian portraits stands out. These works, depicting members of the Nassau dynasty, are considered one of the largest such series for any European ruling house of the period. Equestrian portraits were a powerful genre, traditionally used to convey authority, military prowess, and noble status, tracing their lineage back to classical antiquity and revitalized during the Renaissance by artists like Titian and later perfected in the Baroque era by masters such as Rubens and Van Dyck. Van Hulle’s contributions to this genre for the Dutch stadtholders underscored their quasi-royal status and military leadership during a period of ongoing conflict and nation-building. These paintings served as potent symbols of power and dynastic continuity.
The Münster Congress: A Defining Commission
The most significant and career-defining period for Anselmus van Hulle came between 1645 and 1648. He was dispatched to Münster, one of the two cities (along with Osnabrück) hosting the peace negotiations that would eventually lead to the Peace of Westphalia, ending the devastating Thirty Years' War and the Eighty Years' War. This was a monumental diplomatic gathering, bringing together envoys, diplomats, and nobles from across Europe.
In Münster, Van Hulle established a large and efficient workshop. His primary task was to paint the portraits of the numerous delegates. This was an ambitious undertaking, requiring not only artistic skill but also considerable organizational ability and diplomatic tact. The resulting portraits were highly sought after. The delegates themselves commissioned likenesses to commemorate their participation in this historic event, and the city council of Münster also acquired a set of these portraits for its town hall, where many still hang today, forming a unique historical gallery.
These portraits were typically bust-length or half-length, focusing on capturing the individual features, attire, and gravitas of these important men. The style was generally formal and representative, aiming for a dignified portrayal suitable for the sitters' status and the solemnity of the occasion. Van Hulle's ability to produce a consistent quality across a large number of commissions in a relatively short period speaks to his skill and the efficiency of his studio. It is known that he employed assistants; for instance, Floris de Vries is documented as having worked in his studio and produced copies of Van Hulle's originals. Another painter, known only as Borchers (possibly J. Borchers), is also mentioned as collaborating or competing in painting the delegates in Münster. The sheer demand for these visual mementos was immense. The presence of artists like Gerard ter Borch (1617-1681), who famously painted "The Swearing of the Oath of Ratification of the Treaty of Münster," further highlights the importance of visual documentation during these peace congresses.
Artistic Style and Characteristics
Anselmus van Hulle's artistic style, particularly in his portraits, reflects the prevailing tastes of the Baroque era, tempered with a Netherlandish concern for realistic depiction. His training, possibly under Gaspar de Crayer, would have exposed him to the rich textures, dynamic yet dignified poses, and psychological depth characteristic of Flemish portraiture, as exemplified by Rubens and Van Dyck.
His Münster portraits, while needing to be produced efficiently, still demonstrate a keen eye for individual character. He paid close attention to the details of costume – the silks, velvets, lace, and official regalia – which were important indicators of status and wealth. The faces are rendered with care, aiming to capture not just a physical likeness but also a sense of the sitter's personality and importance. While perhaps not possessing the flamboyant brushwork of a Frans Hals (c. 1582-1666) or the profound introspection of a Rembrandt van Rijn (1606-1669), Van Hulle's portraits are competent, dignified, and highly effective in their purpose as official records and status symbols.
The lighting in his works is generally well-handled, creating a sense of volume and presence. His compositions are typically straightforward and focused on the sitter, often against a neutral or subtly suggestive background. The equestrian portraits of the Nassau dynasty would have allowed for more dynamic compositions, showcasing his ability to handle complex arrangements of horse and rider, a challenging subject that demanded a strong understanding of anatomy and movement.
Dissemination through Engravings: International Fame
A crucial aspect of Anselmus van Hulle's success and lasting fame was the widespread dissemination of his portraits through engravings. The 17th century was a golden age for printmaking, and engravings allowed artworks to reach a much broader audience than unique paintings ever could. Van Hulle actively capitalized on this. His portraits of the Münster delegates were systematically engraved and published in several series.
One of the most famous collections was titled Celeberrimi Legati ad Pacem Westphalicam Monasterii et Osnabrugis ... expressi or similar variations like Pacis Antesignani Sive Icones Procerum. These volumes, containing dozens of engraved portraits after Van Hulle's paintings, were published by various printmakers, including David Fröschl in 1648 and later by others like Peter Aubry. Prominent engravers such as Cornelis Galle the Younger (1615-1678), Pieter de Jode II (1606-c.1674), and Paulus Pontius (1603-1658) – the latter two known for their work reproducing paintings by Rubens and Van Dyck – were involved in translating Van Hulle's painted likenesses into the linear medium of engraving.
These printed collections were immensely popular. They served as visual "who's who" guides to the architects of European peace, and were collected by libraries, scholars, and individuals interested in current affairs. The engravings ensured that Van Hulle's images of these diplomats became the standard, iconic representations. This practice of reproducing portraits in print was common; for example, Van Dyck's "Iconography," a series of engraved portraits of famous contemporaries, set a precedent. Van Hulle's Münster series achieved a similar, if more event-specific, international recognition. His work was not only seen in the Netherlands but also in the German principalities, at the Imperial Diets in Regensburg and Frankfurt, further cementing his reputation across Europe.
Art Dealer and Entrepreneur
Beyond his activities as a painter, Anselmus van Hulle was also involved in the art market as a dealer. This was not uncommon for artists of the period; many supplemented their income or leveraged their connections through buying and selling artworks. His presence at major political gatherings like the Münster Congress would have provided ample opportunities for such dealings, connecting with wealthy patrons and collectors from various countries. His business acumen, combined with his artistic talent, allowed him to navigate the complex social and economic landscape of the 17th-century art world successfully.
Personal Life and Later Years
Anselmus van Hulle married Livina van Thune (also spelled Thunen or Tune) in Ghent on December 7, 1631. The couple is known to have had at least four children. His family life sometimes intersected with his professional obligations. For instance, records indicate that in 1647, during his busy period in Münster, he had to travel to Hulst to deal with matters concerning his wife's family inheritance, demonstrating the practical concerns that even successful artists had to manage.
After the Münster Congress, Van Hulle continued to be active. He is documented as working in various locations, including the courts of German princes. His reputation as a skilled portraitist of high-ranking individuals was well established. He is believed to have worked in Vienna and Dresden, further indicating his international demand.
The exact date of Anselmus van Hulle's death has been a subject of some scholarly debate. Some sources list it as late as 1694, while others, and perhaps more reliably, suggest he died around 1674. Given that his major documented activity, particularly the Münster portraits and their initial engravings, clusters around the mid-century, a death date of 1674 seems more consistent with the known timeline of his career. The later date might stem from confusion with another artist or later editions of his prints. However, most modern art historical resources, like the Netherlands Institute for Art History (RKD), favor a death year around 1674 or shortly thereafter, possibly in the Northern Netherlands.
Collaborations and Influence on Other Artists
Van Hulle's studio practice, especially during the intense period at Münster, necessitated collaboration. As mentioned, Floris de Vries worked as a copyist in his workshop, producing replicas of the delegate portraits. These copies were also sold, indicating a structured approach to meeting the high demand. The city council of Münster, for example, acquired 34 portraits from De Vries, based on Van Hulle's originals, for their town hall.
The influence of Van Hulle's work can be seen in the continued demand for portraits in a similar dignified and representative style. While he may not have founded a distinct "school" in the way some other masters did, his success provided a model for courtly and diplomatic portraiture. Artists like Frans van de Stuvel, who also worked as a court painter, may have been aware of or influenced by Van Hulle's successful career trajectory and style. The widespread availability of his engraved portraits also meant that his compositions and portrayals were accessible for study by other artists across Europe. The very act of having his works engraved by prominent printmakers like Cornelis Galle the Younger and Pieter de Jode II placed him in the company of the leading painters whose works were deemed worthy of such reproduction.
There is also a mention of a possible influence from Michelangelo of Bologna (likely Michelangelo Cerquozzi, 1602-1660, an Italian Baroque painter active in Rome, known for genre scenes and battles, but who also painted some portraits), particularly if Van Hulle spent time in Rome. However, concrete evidence for an Italian sojourn or direct influence from Cerquozzi is less established than his connections within the Netherlandish sphere.
Historical Significance and Lasting Legacy
Anselmus van Hulle's primary historical significance lies in his role as a visual chronicler of the Peace of Westphalia. His portraits of the delegates provide an invaluable historical record, offering a human face to the complex diplomatic processes that reshaped the map and political structure of Europe. These images have become integral to how we visualize this pivotal moment in history.
His equestrian portraits of the Nassau family also contribute to our understanding of the representation of power and authority in the Dutch Republic. In a state that was nominally a republic but where the House of Orange held significant, near-monarchical influence, such portraits helped to construct and project an image of leadership and dynastic strength.
Artistically, Van Hulle represents a successful practitioner of Baroque portraiture, adapting the grandeur of the Flemish tradition to the specific needs of his patrons, whether they were Dutch stadtholders or international diplomats. His ability to manage a large-scale portraiture project like the one at Münster, and to successfully market these images through engravings, demonstrates a combination of artistic talent and entrepreneurial skill.
While he may be overshadowed in general art history surveys by figures like Rembrandt, Rubens, or Van Dyck, Anselmus van Hulle occupies a significant niche. His work is a testament to the power of portraiture in the 17th century to define identity, commemorate historical events, and project status. His paintings and the engravings after them remain important resources for historians and art historians alike, offering insights into the personalities, attire, and self-representation of Europe's elite during a period of profound transformation.
Conclusion
Anselmus van Hulle was more than just a painter; he was an artist operating at the heart of European power politics. From his beginnings in Ghent and his service to the Prince of Orange to his defining work at the Münster Congress, he skillfully navigated the demands of high-profile patronage. His portraits, especially those of the peace negotiators, immortalized a generation of leaders and diplomats, and through the medium of print, these images achieved an international currency that cemented his reputation. Though the precise details of his later life and death remain somewhat elusive, his contribution to the visual culture of the 17th century, and particularly to the iconography of one of its most significant peace treaties, is undeniable. Anselmus van Hulle remains a key figure for understanding the role of the portraitist as historian, diplomat, and artist in a dynamic and changing Europe.
