Daniel Mytens the Elder stands as a significant figure in the transition of English portraiture during the early 17th century. A painter of Dutch origin, he brought a new level of sophistication, naturalism, and elegance to the art of the portrait in England, serving as a crucial bridge between the more formal Tudor and early Jacobean styles and the dazzling Baroque flair that would later be introduced by Anthony van Dyck. His tenure as a court painter to two English monarchs, James I and Charles I, cemented his reputation and left an indelible mark on the visual culture of the era.
Early Life and Artistic Formation in the Netherlands
Born in Delft around 1590, Daniel Mytens (often referred to as Mytens the Elder to distinguish him from other artist relatives) emerged from a Flemish family of artists who had sought refuge in the Northern Netherlands. His early artistic training took place in The Hague, a burgeoning center for portraiture. It is widely believed, though not definitively proven, that he was a pupil of Michiel Jansz. van Mierevelt, one of the leading portrait painters in the Dutch Republic at the time. Van Mierevelt was renowned for his prolific output, his meticulous technique, and his ability to capture a sitter's likeness with sober dignity.
This apprenticeship, or at least exposure to Van Mierevelt's workshop, would have instilled in Mytens a strong foundation in the Dutch tradition of precise rendering, attention to detail in costume and texture, and a certain psychological acuity in portraying his subjects. The artistic environment of The Hague was vibrant, with painters like Jan van Ravesteyn also producing high-quality portraits. Mytens would have been aware of these contemporaries and the prevailing tastes for realistic, yet dignified, representation. His early works in the Netherlands, though fewer survive or are definitively attributed, likely reflected this Dutch sensibility, preparing him for the next major phase of his career.
Arrival in England and Jacobean Patronage
Around 1618, Daniel Mytens made the pivotal decision to move to London. England, at this time, offered considerable opportunities for skilled foreign artists, particularly in the realm of court portraiture. The English aristocracy and monarchy had a long tradition of employing painters from the continent, from Hans Holbein the Younger in Henry VIII's reign to a succession of Flemish and Dutch artists. When Mytens arrived, the dominant figures in English court portraiture included Marcus Gheeraerts the Younger and John de Critz, whose styles, while accomplished, were rooted in a more linear, decorative, and somewhat stiff Elizabethan and early Jacobean tradition. Paul van Somer, another Netherlandish artist, had also found favor, bringing a slightly more relaxed approach.
Mytens's style, with its greater naturalism, softer modeling, and more sophisticated understanding of light and space, quickly found favor. He offered a freshness and a sense of presence that was appealing to patrons looking for more lifelike and psychologically engaging portraits. One of his key early patrons was Thomas Howard, 2nd Earl of Arundel, a prominent connoisseur and collector who played a crucial role in shaping artistic taste in England. Arundel's patronage was a significant endorsement and likely facilitated Mytens's introduction to higher court circles.
By 1620, Mytens was working for King James I. His portraits from this period began to establish his reputation. For instance, his depiction of Charles Howard, 1st Earl of Nottingham (c. 1620), showcases his ability to convey authority and individual character. He captured the aged admiral with a dignified realism, paying close attention to the textures of his robes and the insignia of his office. This work, and others like it, demonstrated a departure from the flatter, more emblematic style of some of his predecessors.
Principal Painter to King Charles I
The accession of Charles I to the throne in 1625 marked a golden age for the arts in England, and Daniel Mytens was perfectly positioned to benefit. Charles I was a far more discerning and passionate art collector and patron than his father. He actively sought to elevate the status of the arts in his kingdom and to project an image of sophisticated and divinely ordained monarchy. In 1625, Mytens was appointed "picture drawer" or official painter to the King, a prestigious position that came with an annual pension and lodgings.
During the late 1620s and early 1630s, Mytens produced a series of magnificent full-length portraits of Charles I, Queen Henrietta Maria, and other prominent courtiers. These works are characterized by their elegant compositions, rich color palettes, and the convincing depiction of luxurious fabrics – silks, satins, and lace. Mytens often placed his sitters in atmospheric settings, sometimes with glimpses of landscapes or architectural elements, adding depth and context to the portrayals.
One of his most iconic works is the Portrait of Charles I (1629, now in the Royal Collection). This painting shows the King standing full-length, dressed in a striking red, embroidered costume, with the Banqueting House, designed by Inigo Jones, visible in the background. The pose is regal yet approachable, and Mytens masterfully captures the sheen of the fabric and the delicate lace of the King's collar. Another significant portrait of the King is the Charles I (1631, National Portrait Gallery, London), where the monarch is depicted in Garter robes, an image that was used as a model for the replication of a head-and-shoulders portrait to be set into a Garter jewel. This particular commission highlights the practical uses of royal portraiture beyond simple display.
Mytens also painted numerous portraits of Queen Henrietta Maria, often as pendants to those of the King. His depictions of the Queen emphasize her youth, elegance, and French sophistication. He also portrayed key figures of the court, such as George Villiers, 1st Duke of Buckingham, the King's powerful favorite. His portrait of Buckingham (c. 1625-1628, versions exist) captures the Duke's notorious arrogance and ambition. Another important sitter was James Hamilton, Marquess of Hamilton (later 1st Duke), a close associate of the King, whom Mytens painted in a famous full-length portrait (c. 1629, Scottish National Portrait Gallery), exuding an air of aristocratic nonchalance.
His portrait of George Calvert, 1st Baron Baltimore (c. 1627, Enoch Pratt Free Library, on loan to the Maryland Historical Society; another version c. 1630 is in the Tate/Scottish National Gallery), the founder of the Maryland colony, is a fine example of his ability to convey intelligence and gravitas. Similarly, his depiction of Lady Margaret Sadler (c. 1629, Metropolitan Museum of Art, New York) shows his skill in portraying female sitters with sensitivity and an appreciation for the richness of their attire.
Mytens's style during this period was characterized by a cool, silvery light, a refined palette, and an ability to create a sense of three-dimensional form that was more advanced than many of his English-based contemporaries, such as Cornelius Johnson (Cornelis Janssens van Ceulen), who, though also Dutch-born and a fine painter, often worked on a smaller scale and with a slightly more reserved manner. Mytens's full-length standing portraits, often set against rich draperies or architectural backdrops, became a hallmark of Caroline court portraiture.
The Arrival of Van Dyck and Mytens's Later Career
The arrival of Anthony van Dyck in England in 1632 profoundly changed the artistic landscape of the Caroline court. Van Dyck, a former principal assistant to Peter Paul Rubens and an artist of international renown, brought with him a dynamic, flamboyant Baroque style that immediately captivated Charles I and his courtiers. Van Dyck's portraits were characterized by their effortless elegance, fluid brushwork, and an ability to imbue his sitters with an almost superhuman grace and aristocratic languor.
While Mytens had provided a sophisticated and naturalistic mode of portraiture, Van Dyck offered something even more glamorous and idealized. It is said that Mytens, recognizing Van Dyck's superior talent and the shift in royal favor, felt his own position diminish. There's a story, possibly apocryphal but indicative of the situation, that Mytens asked for permission to return to his native country upon seeing Van Dyck's work. While he didn't leave immediately, Van Dyck was swiftly appointed "Principal Painter in Ordinary to their Majesties" in 1632, effectively superseding Mytens.
Mytens continued to work in England for a few more years, but his prominence waned. He is believed to have returned to The Hague around 1634. There, he continued his career as a painter and also worked as an art dealer, notably acting as an agent for the Earl of Arundel in acquiring artworks. His activities in the Netherlands are less extensively documented than his English period, but he remained a respected artist. Some works from his later Dutch period survive, showing a continued adherence to his established style, though perhaps with some influence from the prevailing trends in Dutch portraiture, exemplified by artists like Frans Hals or the early Rembrandt, though Mytens's style remained more polished and less overtly bravura.
Artistic Style, Technique, and Influences
Daniel Mytens's style was a synthesis of his Dutch training and the requirements of English courtly representation. From his Dutch background, particularly if influenced by Van Mierevelt, he inherited a commitment to verisimilitude, a careful rendering of textures (especially fabrics like silk, satin, and lace), and a sober, dignified portrayal of his sitters. His figures have a tangible presence and a sense of volume that marked an advance on the flatter, more decorative style of earlier Jacobean portraiture.
He typically employed a cool, silvery light that illuminated his subjects clearly, defining their features and the intricate details of their costumes. His compositions, especially in full-length portraits, were often grand and formal, yet he managed to invest his sitters with a degree of psychological presence. He was adept at capturing a likeness while also conveying the status and authority of his subjects, a crucial requirement for a court painter.
The influence of Peter Paul Rubens, the pre-eminent Flemish Baroque master, can be discerned in some of Mytens's work, perhaps indirectly. Rubens had visited England in 1629-1630 on a diplomatic mission and also undertook artistic commissions, including the ceiling paintings for the Banqueting House. The dynamism and richness of Rubens's style were influential across Europe, and Mytens, like many artists of his generation, would have been aware of his innovations. This might be seen in Mytens's increasingly sophisticated handling of space and the growing elegance of his figures.
Mytens also engaged in some collaborative efforts. For instance, the painter Hendrick van Steenwijck the Younger, known for his architectural perspectives, is recorded as having painted architectural backgrounds for both Mytens and, later, Van Dyck. This practice of specialists contributing to a single artwork was not uncommon at the time.
While Mytens's work paved the way for Van Dyck, it is important to recognize his own distinct contributions. He introduced a more naturalistic and psychologically nuanced approach to portraiture in England, moving away from the iconic stiffness of earlier traditions. His portraits provided a template for stately representation that Van Dyck would then elevate to new heights of Baroque dynamism. Painters like William Dobson, who emerged during the English Civil War, and later Sir Peter Lely, who dominated Restoration portraiture, owed a debt to the foundations laid by both Mytens and Van Dyck.
Representative Works: A Closer Look
To fully appreciate Mytens's contribution, a closer examination of some key works is warranted:
Charles I (1631, Royal Collection, also known as the "Silver Suit" portrait): This is one of his most famous depictions of the King. Charles stands full-length, dressed in a shimmering silver-grey doublet and hose, against a backdrop of rich green drapery. His pose is elegant, one hand on his hip, the other resting lightly on a table beside the crown and orb. Mytens masterfully captures the textures of the silk and the intricate lace collar. The King's expression is serious and thoughtful, conveying a sense of regal authority.
Henrietta Maria (c. 1630-1632, Royal Collection): Often a pendant to portraits of Charles I, Mytens's depictions of the Queen emphasize her fashionable attire and youthful charm. He captures her features with delicacy, paying close attention to her elaborate hairstyles and pearl jewelry. These portraits project an image of a refined and cultured queen consort.
James Hamilton, 1st Duke of Hamilton (1629, Scottish National Portrait Gallery): This striking full-length portrait shows the young nobleman in a black and silver outfit, his pose exuding aristocratic confidence, almost a swagger. A large dog rests at his feet, a common symbol of fidelity and status. The landscape background adds depth and a sense of grandeur. This work is often cited as one of Mytens's finest achievements, showcasing his ability to create a powerful and fashionable image.
George Villiers, 1st Duke of Buckingham (e.g., c. 1626, National Maritime Museum): Mytens painted several portraits of the influential and controversial Duke. These images convey Buckingham's immense power and self-assurance. The meticulous rendering of his lavish costumes and the Garter insignia underscores his high rank.
Thomas Howard, 2nd Earl of Arundel and Surrey (c. 1618, National Portrait Gallery, London): This earlier work, possibly one of the first Mytens painted in England, shows the great collector and patron. Arundel is depicted three-quarter length, holding a scroll, perhaps alluding to his intellectual pursuits. The style is somewhat more restrained than his later Caroline portraits but already shows Mytens's skill in capturing character and status.
These works, among many others, demonstrate Mytens's consistent quality and his importance in defining the image of the Caroline court before Van Dyck's arrival. His paintings are invaluable historical documents, offering insights into the personalities, fashions, and power structures of the era.
Legacy and Artistic Family
Daniel Mytens the Elder died sometime between 1647 (the last record of him being alive) and 1656, likely in The Hague. His legacy in England was somewhat overshadowed by the brilliance of Van Dyck, but art historians now recognize his crucial role in the development of British portraiture. He modernized the genre, bringing a new level of naturalism, elegance, and psychological depth that appealed to the sophisticated tastes of patrons like the Earl of Arundel and King Charles I.
His influence also extended through his artistic family. His nephew, Jan Mytens (Johannes Mijtens, c. 1614–1670), became a prominent portrait painter in The Hague, known for his elegant group portraits and individual likenesses, often set in landscape settings. Jan's style shows an awareness of contemporary trends, including the influence of Van Dyck.
Daniel Mytens the Elder's son, Daniel Mytens the Younger (1636–1688), was also a painter, though less famous than his father or cousin. More significantly, another relative, Martin Mytens the Younger (1695–1770), born in Stockholm to a Dutch painter father (possibly a nephew or grand-nephew of Daniel the Elder), achieved considerable fame as a court painter in Vienna, serving Empress Maria Theresa. This demonstrates the continuation of an artistic dynasty that spread across Europe.
In the broader context of Dutch Golden Age painting, Mytens represents the international reach of Dutch artists. While painters like Rembrandt van Rijn, Frans Hals, and Johannes Vermeer are celebrated for their work within the Netherlands, many Dutch painters, like Mytens and later Sir Peter Lely (Pieter van der Faes) and Sir Godfrey Kneller (Gottfried Kniller, German-born but Dutch-trained), found immense success abroad, particularly in England, shaping the course of art in their adopted countries. Other Dutch artists like Gerrit van Honthorst also spent time working for Charles I, contributing to the rich artistic milieu of the Caroline court.
Conclusion: Reassessing Mytens's Contribution
Daniel Mytens the Elder was more than just a precursor to Van Dyck. He was a highly skilled and innovative artist in his own right who played a pivotal role in transforming English portraiture. His Dutch training provided him with a strong technical foundation, while his adaptability and talent allowed him to meet the demands of the English court, creating images of regal splendor and aristocratic elegance. He introduced a new level of naturalism and psychological insight, moving beyond the more emblematic traditions of his predecessors.
His portraits of James I, Charles I, Henrietta Maria, and the leading figures of their courts remain vital records of a fascinating period in English history. They capture the opulence, confidence, and, perhaps, the underlying tensions of an era that would soon be engulfed by civil war. While Van Dyck's dazzling artistry would ultimately define the iconic image of the Caroline court for posterity, Mytens's contribution was essential in preparing the ground, elevating the standards of court portraiture, and leaving behind a body of work that continues to command respect for its skill, elegance, and historical significance. His career underscores the fruitful cross-cultural exchanges that enriched European art in the 17th century.
