Cornelis Troost stands as a pivotal figure in 18th-century Dutch art, a versatile artist whose work provides a vibrant and often humorous window into the society of his time. Active primarily in Amsterdam, Troost distinguished himself as a painter of portraits, genre scenes, theatrical depictions, and satirical pieces, earning him the moniker "the Dutch Hogarth." His keen observational skills, combined with a delightful wit and a mastery of various media, including oil and pastel, allowed him to capture the nuances of Dutch life, from the refined gatherings of the elite to the boisterous activities of the everyday populace. His legacy is one of an artist who not only documented his era but also gently critiqued and celebrated it.
Early Life and Theatrical Beginnings
Born in Amsterdam on October 8, 1696 (though some sources cite 1697), Cornelis Troost was the son of Jan Troost, a bookkeeper or clerk for the Admiralty of Amsterdam, and Barbara Meebeeck Cruywagen. His early life was steeped in the world of theatre, as his mother was involved with the city's playhouses. This theatrical environment undoubtedly shaped his artistic vision, instilling in him a love for narrative, character, and dramatic composition.
Before dedicating himself fully to painting, Troost pursued a career as an actor. From approximately 1719 to 1724, he was an active performer at the "Nieuwe Amsterdamse Schouwburg," the city's premier theatre. This period on the stage provided him with invaluable insights into human expression, gesture, and social interaction, elements that would later become hallmarks of his painted scenes. His experience as an actor likely honed his ability to convey emotion and tell stories visually, a skill that translated seamlessly into his artistic endeavors.
The Transition to Painting and Artistic Training
Around 1723, Cornelis Troost made the decisive shift from the stage to the studio, choosing to dedicate his talents to the visual arts. He sought formal training under the esteemed Amsterdam portrait painter Arnold Boonen (1669–1729). Boonen, a pupil of Godfrey Kneller, was a highly respected artist known for his elegant portraits of the Dutch elite. Under Boonen's tutelage, Troost would have learned the fundamentals of oil painting, portraiture techniques, and the prevailing artistic conventions of the early 18th century.
While Boonen's influence is evident in Troost's early portrait work, Troost quickly developed his own distinct style. He was not content to merely replicate the formal portraiture of his master. Instead, he began to incorporate a liveliness and informality into his work, drawing perhaps from his theatrical background and a natural inclination towards observing and depicting human nature in all its facets. Some sources also suggest an earlier, or perhaps concurrent, period of study with the landscape painter Abraham Boon, though Arnold Boonen is consistently cited as his primary painting instructor.
Artistic Style: Rococo Charm and Dutch Realism
Cornelis Troost's artistic style is a fascinating blend of the burgeoning Rococo sensibility, with its emphasis on elegance, charm, and asymmetry, and the enduring Dutch tradition of realism and genre painting. He was undoubtedly aware of and influenced by contemporary French artists like Jean-Antoine Watteau (1684–1721), whose depictions of "fêtes galantes" and theatrical figures were highly fashionable. This French influence can be seen in the graceful poses, delicate color palettes, and often lighthearted subject matter of some of Troost's works.
However, Troost remained firmly rooted in the Dutch artistic heritage. His keen eye for detail, his ability to capture the textures of fabrics and the specifics of domestic interiors, and his focus on scenes of everyday life connect him to 17th-century Dutch masters such as Jan Steen (c. 1626–1679) or Gabriël Metsu (1629–1667). Troost adapted these traditions to the tastes and social realities of the 18th century, infusing them with a Rococo lightness and a distinctive personal humor. He was particularly adept at using pastel, a medium that allowed for a soft, luminous quality well-suited to his intimate scenes and portraits.
Thematic Range: From Portraits to "Conversation Pieces"
Troost's oeuvre is remarkably diverse. He was a sought-after portraitist, capturing the likenesses of prominent Amsterdam citizens, often in group settings that went beyond mere formal representation. These "conversation pieces," a genre popular in 18th-century England with artists like Arthur Devis (1712–1787), depicted families or groups of friends engaged in leisurely activities, often in their own homes or gardens. Troost excelled in this genre, imbuing his subjects with personality and creating a sense of narrative within the scene.
His theatrical background found direct expression in his numerous depictions of scenes from plays and the lives of actors. These works are invaluable historical documents, offering glimpses into 18th-century Dutch theatre practices, costumes, and stage design. They also demonstrate Troost's skill in capturing dramatic moments and conveying character through pose and expression, much like a director staging a scene.
Genre scenes formed a significant part of his output. These paintings often depicted domestic interiors, social gatherings, musical parties, and moments of everyday life. Unlike some of his 17th-century predecessors who might moralize more overtly, Troost's genre scenes are often characterized by a gentle humor and a sympathetic, if sometimes satirical, observation of human foibles.
Masterpieces and Notable Works
Several works stand out in Cornelis Troost's extensive body of work, showcasing his skill and thematic concerns.
One of his most famous series is the set of five pastels known as "NELRI" (an acronym for the Latin phrase "Nemo Loquebatur, Res Ipsa Loquitur," meaning "No one spoke, the thing itself spoke," or sometimes interpreted from the first letters of the depicted men's supposed last names). Created between 1739 and 1740, these works depict a group of men at various stages of a convivial, and increasingly inebriated, evening gathering at a club or private home. The series is a masterful display of Troost's ability to capture character, mood, and the subtle progression of a narrative through a sequence of images. The Rijksmuseum in Amsterdam holds this important series.
"A Couple Making Music" (1743), also in the Rijksmuseum, is a charming oil painting depicting a well-to-do couple in an elegant interior. The husband plays the cello while his wife, seated at a harpsichord, turns to look at him. The painting is a beautiful example of a "conversation piece," symbolizing marital harmony and the refined pleasures of 18th-century domestic life. The attention to detail in the furnishings, clothing, and musical instruments is typical of Troost's meticulous approach.
"The Spendthrift" (De Spilpenning, 1741), based on a scene from a popular play by Thomas Asselijn, showcases Troost's engagement with theatrical subjects and his satirical bent. It depicts a chaotic domestic scene where a profligate wife has squandered the family's finances, leading to distress and disorder. This work highlights Troost's ability to translate dramatic narratives into compelling visual compositions.
His "Portrait of a Member of the Van der Mersch Family" (1736) is an example of his more formal, yet still engaging, portraiture, depicting an aristocratic subject with an air of relaxed elegance. Similarly, "Portrait of a Lady before an Oval Mirror" demonstrates his skill in capturing a sense of intimacy and spontaneity, contributing to his popularity as a portraitist in Amsterdam.
Troost also painted military scenes, such as "The Guard Room" (1747), which, while perhaps less characteristic of his overall output, demonstrates his versatility in handling different subjects and compositions, in this case with a more Baroque dynamism. Another lively genre scene is "Singing Round the Star on the Twelfth Night," capturing the festive spirit of a traditional Dutch celebration.
The "Dutch Hogarth": Satire and Social Commentary
Cornelis Troost is frequently referred to as "the Dutch Hogarth," a comparison to the great English satirical artist William Hogarth (1697–1764). Like Hogarth, Troost often used his art to comment on the manners, morals, and follies of his society. His satirical works, while perhaps gentler and less biting than Hogarth's, nevertheless offer astute observations on human behavior.
The "NELRI" series, for example, can be seen as a humorous commentary on male sociability and the effects of alcohol. His depictions of theatrical scenes often carried subtle social critiques, and his genre paintings frequently highlighted the pretensions or absurdities of certain social customs. Troost's satire was typically good-natured, inviting amusement rather than harsh judgment, but it was nonetheless effective in holding a mirror up to his contemporaries.
This aspect of his work was highly appreciated by his patrons, who were often members of the very society he depicted. They enjoyed his witty observations and the lively, engaging quality of his paintings. His ability to blend entertainment with subtle social commentary made him a unique and popular figure in the Amsterdam art world.
Troost and His Contemporaries
Cornelis Troost operated within a vibrant, if somewhat changed, Dutch art scene. The "Golden Age" of Dutch painting had passed, but Amsterdam remained an important cultural center. Troost would have been aware of, and interacted with, numerous other artists.
His teacher, Arnold Boonen, was a significant figure in early 18th-century portraiture. Another prominent Amsterdam artist of the time was Jacob de Wit (1695–1754), known for his decorative paintings, ceiling pieces, and grisailles. While their styles differed, Troost and de Wit were leading figures in the city's artistic life.
The tradition of Dutch still life painting continued with artists like Rachel Ruysch (1664–1750) and Jan van Huysum (1682–1749), whose exquisite flower paintings were internationally renowned. Though Troost's focus was different, he shared their commitment to meticulous observation and technical skill.
Internationally, the Rococo style was flourishing. Besides Jean-Antoine Watteau, whose influence has been noted, other French masters like François Boucher (1703–1770) and Jean-Baptiste-Siméon Chardin (1699–1779) were Troost's contemporaries. Chardin, in particular, shared Troost's interest in genre scenes and domestic interiors, though with a more subdued and introspective mood. In Italy, Giovanni Battista Tiepolo (1696–1770) was creating grand Rococo frescoes, and the pastellist Rosalba Carriera (1673-1757) achieved international fame for her portraits, a medium Troost also excelled in.
In England, beyond William Hogarth, artists like Thomas Gainsborough (1727–1788) and Sir Joshua Reynolds (1723–1792) were beginning their careers towards the end of Troost's life, heralding a new era in British painting.
Troost's works were sometimes exhibited or collected alongside those of other Dutch artists such as Nicolaas Verkolje (1673–1746) and Pieter Gerard van der Woude. The collector and printmaker Cornelis Ploos van Amstel (1726–1798), a younger contemporary, played a significant role in promoting Dutch art and would have certainly been familiar with Troost's contributions, even if direct personal interaction was limited by age difference. Ploos van Amstel was instrumental in developing new printmaking techniques to reproduce drawings and pastels, including works by artists like Troost.
Artistic Progeny: Students and Family
Cornelis Troost also played a role in educating the next generation of artists. Among his pupils were Christina Chalon (1748–1808), who became known for her drawings and etchings, often depicting genre scenes with a similar observational humor to Troost. Other students included William V, Prince of Orange (who received drawing lessons), Elisabeth van Woensel, and Hermanus Petrus Schouten (1747–1822), who became known for his cityscapes and topographical drawings.
Artistic talent also ran in Troost's own family. His daughter, Sara Troost (1732–1803), became an accomplished artist in her own right, primarily working in pastel and watercolor. She specialized in portraits and genre scenes, clearly influenced by her father's style and subject matter. Sara Troost, in turn, is noted as having been a teacher to Christina Chalon, creating a direct line of artistic transmission. This continuation of artistic practice within his family and through his students underscores Troost's influence on Dutch art of the later 18th century.
Later Career, Death, and Legacy
Cornelis Troost remained a highly productive and respected artist throughout his career. He married Susanna Maria van der Duyn in 1720, and they had several children, including Sara. He continued to live and work in Amsterdam, receiving commissions from a discerning clientele that appreciated his unique blend of elegance, humor, and realism.
He passed away in Amsterdam on March 7, 1750, at the age of 53. Despite a relatively short life, he left behind a substantial body of work that continues to delight and inform. His paintings, pastels, and drawings are held in major collections, most notably the Rijksmuseum in Amsterdam, but also in other Dutch museums and international collections.
Cornelis Troost's legacy is multifaceted. He is celebrated as a master of the "conversation piece" and a skilled portraitist who captured the spirit of his sitters. His theatrical scenes provide invaluable insights into 18th-century Dutch culture. Perhaps most enduringly, his reputation as "the Dutch Hogarth" highlights his unique ability to combine artistic skill with witty social observation. He successfully navigated the transition from late Baroque to Rococo aesthetics, infusing his work with a distinctly Dutch character. More than just a painter, Cornelis Troost was a keen observer and a charming chronicler of his time, leaving behind a visual record that remains as engaging today as it was in 18th-century Amsterdam. His influence can be seen in the work of his students and in the continued appreciation for genre painting that characterized Dutch art.
