Bernardus van Schendel (1649-1709) was a Dutch painter active during the latter part of the Dutch Golden Age, a period of extraordinary artistic output in the Netherlands. While perhaps not as universally recognized today as some of his towering contemporaries, Van Schendel carved out a niche for himself with lively depictions of everyday life, particularly market scenes and, according to some accounts, scenes illuminated by artificial light, a characteristic that requires careful distinction from a later namesake. His work reflects the broader trends of Dutch genre painting, which celebrated the mundane and the anecdotal, often with a touch of humor or moral observation.
Early Life and Artistic Milieu in Haarlem
Bernardus van Schendel was born in Haarlem in 1649. Haarlem, at that time, was a vibrant artistic center, having already nurtured talents like Frans Hals, Adriaen Brouwer (though Flemish, he worked in Haarlem), Adriaen van Ostade, and Jacob van Ruisdael. Growing up in such an environment would undoubtedly have exposed the young Van Schendel to a rich tapestry of artistic styles and thematic preoccupations. The city was renowned for its landscape painters, its portraitists, and significantly for Van Schendel, its genre painters who specialized in scenes of peasant life, tavern interiors, and bustling marketplaces.
He became a member of the Haarlem Guild of Saint Luke, a crucial step for any aspiring professional artist in the Netherlands. The Guilds regulated the art trade, provided training through apprenticeships, and fostered a sense of community and professional standards among artists. Membership signified a recognized level of competence and the right to sell one's work. While specific details of his training are scarce, his style suggests an absorption of the prevailing Haarlem traditions.
Artistic Style and Thematic Focus
Van Schendel's oeuvre primarily consists of genre scenes. These are depictions of everyday life, often featuring ordinary people engaged in common activities. He seems to have had a particular affinity for market scenes, which were popular subjects in Dutch art, offering opportunities to depict a variety of human types, activities, and still-life elements like produce and wares.
His style is often characterized by a lively, sometimes humorous, approach, reminiscent of the tradition of Jan Steen, who was a master of capturing boisterous and narrative-rich domestic and tavern scenes. Like Steen, Van Schendel often populated his canvases with multiple figures interacting in a dynamic way, inviting the viewer to piece together the narrative or simply enjoy the animated atmosphere. Works such as "Family Celebrating the Birth of Twins" (1703), mentioned in some sources, would fit perfectly within this tradition of celebrating domestic milestones with a characteristic Dutch blend of realism and anecdotal charm.
The Question of Night Scenes and Light
A significant point of discussion, and potential confusion, surrounding Bernardus van Schendel is his depiction of night scenes, particularly those illuminated by candlelight or moonlight. The provided information notes his renown for "night market scenes" and his skill in portraying "the dramatic effects of candlelight and moonlight." This is a characteristic strongly associated with the Utrecht Caravaggisti of the early 17th century, such as Gerrit van Honthorst (famous as Gherardo delle Notti, or Gerard of the Night Scenes), Hendrick ter Brugghen, and Dirck van Baburen. These artists, influenced by Caravaggio, were masters of chiaroscuro, using strong contrasts between light and shadow to create dramatic and emotive effects.
If Bernardus van Schendel indeed specialized in such scenes, he would have been working in a tradition that had seen its peak earlier in the century but whose influence persisted. The ability to convincingly render artificial light sources and their effects on surrounding figures and objects was a mark of considerable technical skill. Such scenes allowed for heightened drama and a focus on intimate, often nocturnal, activities.
However, it is critically important here to distinguish Bernardus van Schendel (1649-1709) from Petrus van Schendel (1806-1870), a 19th-century Belgian-Dutch painter. Petrus van Schendel became exceptionally famous for his romanticized night market scenes, meticulously detailed and brilliantly illuminated by candles, lanterns, and moonlight. He was even nicknamed "Monsieur Chandelle" (Mr. Candle) due to this specialization. The strong emphasis on candlelight and moonlight in the provided description of Bernardus's work might stem from a conflation of these two artists who share a surname and a Dutch heritage.
While it's plausible that Bernardus, active in the late 17th century, did paint some scenes with notable light effects, perhaps influenced by earlier masters or contemporaries like Godfried Schalcken (who was known for his candlelit scenes), the primary association with extensive and specialized night scenes, particularly candlelit markets, belongs to Petrus. For Bernardus, if he did explore such themes, they would likely have been part of a broader repertoire of genre painting, rather than his sole or defining focus. His work, "The Market" or "Theatrical Performance at a Market," for instance, might depict an outdoor scene where lighting conditions play a role, but it's the overall vibrancy of the market that is often highlighted.
Notable Works
Several works help to define Bernardus van Schendel's artistic contribution.
"Theatrical Performance at a Market" (Schaubudenvorstellung auf einem Markt)
This painting, now housed in the State Hermitage Museum in Saint Petersburg, is perhaps one of his most discussed works. It depicts a lively market square where a theatrical troupe is performing, drawing a crowd of onlookers. Such scenes were popular as they combined the everyday setting of the market with the special event of a traveling show, allowing for a rich depiction of varied human reactions and social strata. The painting showcases Van Schendel's ability to organize complex multi-figure compositions and to capture the bustling energy of public life.
Interestingly, this work was once attributed to Johannes Lingelbach (1622-1674), an older contemporary known for his Italianate landscapes and market scenes often featuring Roman or Mediterranean settings. The reattribution to Van Schendel underscores the challenges art historians sometimes face in definitively assigning authorship, especially for artists whose oeuvres are not exhaustively documented. It also suggests a similarity in thematic interest or compositional approach that could lead to such confusion. Lingelbach, like Van Schendel, often depicted busy public spaces with a keen eye for anecdotal detail.
"Market Crier by a Barrel" (Marktschreier an einer Tonne)
Also in the Hermitage collection, this painting likely focuses on another common figure in market scenes: the street vendor or performer, perhaps a quack doctor or a seller of novelties, using a barrel as a makeshift stage or counter. These figures were often depicted with a degree of caricature or humor, reflecting popular entertainment and social types of the era. This work would further cement Van Schendel's reputation as a chronicler of the everyday, capturing the sights and sounds of the Dutch marketplace.
"Family Celebrating the Birth of Twins" (1703)
While the current location of this painting isn't specified in the provided text, its title suggests a theme deeply rooted in Dutch genre tradition. Artists like Jan Steen excelled in depicting domestic celebrations, often imbued with warmth, humor, and sometimes subtle moralizing messages. A scene celebrating the birth of twins would offer a rich narrative: the joy of the parents, the curiosity of siblings and relatives, the traditional customs associated with childbirth and christenings. Such a work would highlight Van Schendel's ability to capture intimate human emotions and social rituals.
"Tavern Scene with a Barrel on the Right"
A work described as "Tavern Scene with a Barrel on the Right" (40 x 49 cm), signed and noted by Walther Bernt in Munich in 1975 as being in a private collection, points to another popular genre subject. Tavern scenes, famously painted by Adriaen Brouwer, Adriaen van Ostade, and Jan Steen, allowed artists to explore themes of leisure, revelry, and sometimes the less savory aspects of human behavior. The inclusion of a barrel is a common motif, signifying the availability of drink and contributing to the rustic atmosphere.
Contemporaries, Influences, and Artistic Circle
Bernardus van Schendel operated within a rich artistic landscape. His connection to the Haarlem tradition is evident.
Jan Steen (c. 1626-1679): As mentioned, Steen's influence, or at least a shared sensibility, seems apparent in Van Schendel's lively and narrative genre scenes. Steen worked in various cities, including Haarlem and Leiden, and his humorous, often chaotic, depictions of Dutch life were widely popular.
Adriaen van Ostade (1610-1685) and Isaack van Ostade (1621-1649): These Haarlem-based brothers were masters of peasant genre scenes, depicting rustic interiors, village fairs, and everyday activities with great empathy and skill. Their work would have been well-known to Van Schendel.
Richard Brakenburg (1650-1702): Significantly, Brakenburg, born just a year after Van Schendel and also active in Haarlem, is sometimes cited as a student or close follower of Van Schendel. Their styles are noted to be similar, focusing on merry companies and peasant scenes in the vein of Jan Steen. This close artistic relationship, with Brakenburg potentially learning from or working alongside Van Schendel, suggests a direct line of influence and shared artistic concerns.
Johannes Lingelbach (1622-1674): The initial misattribution of "Theatrical Performance at a Market" to Lingelbach indicates a perceived stylistic or thematic overlap, even if their primary specializations (Lingelbach's Italianate scenes vs. Van Schendel's more typically Dutch settings) differed.
Utrecht Caravaggisti (Gerrit van Honthorst, Hendrick ter Brugghen, Dirck van Baburen): If Van Schendel did indeed explore dramatic lighting in night scenes, the legacy of these earlier masters would be a key point of reference. Their pioneering use of chiaroscuro had a lasting impact on Dutch painting.
Godfried Schalcken (1643-1706): A contemporary active in Leiden and The Hague, Schalcken was particularly renowned for his exquisite small-scale genre scenes illuminated by candlelight, often with a smooth, polished finish. If Van Schendel painted candlelit scenes, Schalcken would have been a prominent contemporary working in a similar vein.
Broader Golden Age Figures: While direct influence might be harder to trace, Van Schendel worked in an era still shaped by giants like Rembrandt van Rijn (1606-1669), whose mastery of light and psychological depth set a high bar, and landscape painters like Jacob van Ruisdael (c. 1629-1682), whose atmospheric views of Haarlem and its surroundings contributed to the city's artistic identity. Other prominent genre painters of the period whose work formed the backdrop to Van Schendel's career include Gabriel Metsu (1629-1667), Gerard Dou (1613-1675), and Pieter de Hooch (1629-1684), all known for their refined depictions of domestic interiors and everyday life. Even the meticulous still-life painters like Willem Kalf (1619-1693) contributed to the overall artistic richness that valued detailed observation of the tangible world.
The provided text also mentions that Van Schendel's family experienced "economic pressure," forcing him to sell paintings to make a living. This was not uncommon for artists, even successful ones, in the competitive Dutch art market. However, this detail is also very strongly associated with the later Petrus van Schendel, who had a large family to support and often sold his popular night scenes to meet financial needs. It's possible this detail has been transferred in the confusion between the two artists. For Bernardus, like most artists of his time, painting was his profession, and the sale of his works was his livelihood.
Later Career and Legacy
Bernardus van Schendel is recorded as having died in Brussels in 1709. The move from Haarlem to Brussels, if it occurred late in his career, would signify a shift in his working environment. Brussels, while having its own rich artistic traditions, was part of the Spanish Netherlands (later Austrian Netherlands) and had a different cultural and economic climate than the Dutch Republic.
Van Schendel's legacy lies in his contribution to the vast and varied tapestry of Dutch Golden Age genre painting. His works provide engaging glimpses into the public and private lives of his time, rendered with a lively touch and an eye for anecdotal detail. While he may not have achieved the fame of a Vermeer or a Rembrandt, his paintings, such as those in the Hermitage, are valued for their artistic merit and as historical documents.
The confusion with Petrus van Schendel is an important footnote to his legacy. It highlights the need for careful art historical scholarship in distinguishing artists, especially those sharing names or working in similar broad thematic areas. Bernardus van Schendel's contribution stands on its own, rooted in the traditions of 17th-century Haarlem, while Petrus van Schendel is a distinct figure of the 19th-century Romantic movement.
His paintings are found in significant collections, most notably the State Hermitage Museum in St. Petersburg, which holds at least two of his key works. The mention of a piece in a private collection, documented by Walther Bernt, indicates that his works continue to be appreciated by collectors.
Conclusion: An Engaging Chronicler of Dutch Life
Bernardus van Schendel (1649-1709) emerges as a capable and engaging painter of the Dutch Golden Age, specializing in genre scenes that capture the vitality of everyday life, particularly in bustling marketplaces and festive gatherings. Rooted in the artistic traditions of Haarlem and influenced by the broader trends of Dutch art, he developed a style characterized by lively compositions and a keen observation of human interaction, often with a humorous undertone reminiscent of Jan Steen.
While the extent of his work with nocturnal scenes and dramatic candlelight effects remains a subject that needs careful distinction from the later Petrus van Schendel, his acknowledged works, such as "Theatrical Performance at a Market," demonstrate his skill in portraying animated public spaces. His association with Richard Brakenburg further situates him within a network of Haarlem artists dedicated to genre painting.
Though perhaps overshadowed by some of his more famous contemporaries, Bernardus van Schendel's paintings offer valuable insights into the culture and society of the late Dutch Golden Age. His works in collections like the Hermitage ensure his continued, albeit modest, recognition as a skilled chronicler of his time, contributing to the rich and diverse artistic heritage of the Netherlands. His art invites viewers to step into the lively world of 17th-century Holland, to witness its markets, its celebrations, and its everyday moments, all captured with a painter's discerning eye and a storyteller's verve.
