Hendrik van Anthonissen (c. 1605/1606 – before 12 November 1656) stands as a notable figure among the legion of artists who defined the Dutch Golden Age of painting. Specializing in marine art, he captured the Netherlands' intrinsic relationship with the sea—its power, its economic importance, and its dramatic beauty. Though perhaps not as universally recognized today as some of his contemporaries like Willem van de Velde the Younger or Ludolf Bakhuizen, van Anthonissen's contributions to the genre are significant, reflecting both the prevailing artistic trends of his time and his own distinct, albeit evolving, vision. His life and work offer a fascinating window into the bustling maritime world of 17th-century Holland and the artistic milieu that sought to immortalize it.
Early Life and Artistic Genesis in Amsterdam
Born in Amsterdam around 1605 or 1606, Hendrik van Anthonissen was immersed in a city that was rapidly becoming the commercial and maritime hub of Europe. The son of Aert Anthoniszoon (also known as Aart van Antum, c. 1579/80–1620), himself a marine painter, Hendrik was likely exposed to the rudiments of art from a young age. Aert Anthoniszoon had become a citizen (poorter) of Amsterdam in 1604 and was known for his depictions of ships and naval engagements, often in a somewhat archaic style reminiscent of earlier Flemish traditions but already showing the Dutch predilection for realism. The elder Anthoniszoon's career, though cut short by his death in 1620, would have provided an initial artistic environment for his son.
The young Hendrik's formal training, however, is most significantly linked to Jan Porcellis (c. 1580/84 – 1632), a pioneering figure in Dutch marine painting. This connection was solidified by Hendrik's marriage to Porcellis's daughter, Barbelten Heyndricks (or Barbel Porcellis), likely in the early 1630s. Porcellis was instrumental in shifting marine painting away from the more colorful, detailed, and often historically specific scenes favored by artists like Hendrik Cornelisz Vroom (1566–1640), towards a more "tonal" style. This approach emphasized atmospheric effects, a limited, often monochromatic palette (greys, browns, blues), and a greater sense of naturalism in depicting weather and water. Porcellis's work captured the raw, often harsh, beauty of the North Sea, focusing on the interplay of light, cloud, and wave.
The Influence of Jan Porcellis and the Tonal Phase
The impact of Jan Porcellis on Hendrik van Anthonissen's early work cannot be overstated. Porcellis was a master of suggestion, using subtle gradations of tone to convey vast expanses of sea and sky. His compositions were often deceptively simple, yet they possessed a profound sensitivity to the maritime environment. Van Anthonissen absorbed this tonal approach, and many of his earlier paintings reflect Porcellis's influence in their muted color schemes and emphasis on atmospheric conditions. He learned to depict the choppy waters of estuaries, the dramatic cloud formations heralding a storm, and the delicate play of light on sails and hulls.
However, as noted by art historians, while van Anthonissen adopted many of Porcellis's stylistic traits, he did not always achieve the same level of compositional subtlety or atmospheric depth as his father-in-law. Porcellis had a unique ability to imbue his scenes with a palpable sense of mood, whether it was the desolation of a ship battling a gale or the quietude of vessels in a calm. Van Anthonissen's works, while technically proficient and often dynamic, sometimes lacked that ultimate degree of refinement and emotional resonance found in the best of Porcellis or, for instance, in the serene river landscapes of Salomon van Ruysdael (c. 1600/03–1670) who also mastered the tonal style in landscape painting.
Despite this, van Anthonissen became a skilled practitioner of marine art. He was active in Amsterdam, but records also place him in Leiden (1631), Leiderdorp (1632-1635), and possibly Rotterdam. His signature varied throughout his career, sometimes appearing as "HVA," "Hendrick van Antonissen," or other forms, which has occasionally complicated the attribution of his works.
The Amsterdam School and Naval Subjects
Hendrik van Anthonissen was a key member of what can be termed the Amsterdam school of marine painting. This city, with its massive harbor, the Dutch East India Company (VOC), and the Admiralty, was a natural center for artists specializing in maritime themes. He was known for his depictions of naval battles, a popular subject in a nation whose prosperity and security were inextricably linked to its naval power. These scenes often celebrated Dutch victories or showcased the might of the Dutch fleet.
One such example is his painting Surprise Attack on Portuguese Ships off Goa by Four Dutch Ships under Commodore Cornelis Simonsz van der Veer, 30 September 1639. This work, likely painted in the 1640s or early 1650s, depicts a specific historical event where Dutch East India Company ships engaged Portuguese forces in the Indian Ocean. Such paintings served not only as artistic endeavors but also as patriotic statements and records of Dutch global reach. In these more complex compositions, van Anthonissen demonstrated his ability to handle multiple vessels in dynamic interaction, capturing the smoke of cannon fire and the drama of naval warfare. His approach to these scenes can be compared to that of other contemporaries who specialized in battle pieces, such as Abraham de Verwer (c. 1585-1650) or later, Willem van de Velde the Elder (1611–1693), known for his highly detailed "pen paintings" of naval encounters.
The Influence of Jan van Goyen and Simon de Vlieger
Beyond Porcellis, van Anthonissen's style also shows affinities with other leading artists of his time. Jan van Goyen (1596–1656), a prolific landscape and marine painter, was another master of the tonal phase. While primarily known for his river and dune landscapes, van Goyen also painted seascapes that shared the atmospheric concerns of Porcellis. Van Anthonissen's handling of skies and his ability to create a sense of depth through aerial perspective may well have been informed by van Goyen's innovations. Both artists understood the importance of the sky, often dedicating two-thirds or more of the canvas to its depiction, reflecting the dominant role of weather in maritime life.
Perhaps an even more direct influence, particularly in van Anthonissen's mature phase, was Simon de Vlieger (c. 1601–1653). De Vlieger, initially influenced by Porcellis, developed a more nuanced and luminous style. He moved from the predominantly grey tonalities of the earlier marine painters towards a clearer, more silvery light and a richer, though still restrained, palette. De Vlieger excelled at depicting calm seas, bustling harbors, and ships rendered with great accuracy. He became a central figure in Amsterdam marine painting after moving there around 1638. Van Anthonissen's later works often show a move away from the starker tonalism of Porcellis towards a style that incorporates some of de Vlieger's clarity and more varied atmospheric effects. This can be seen in the more detailed rendering of ships and a greater interest in the play of light on water.
Representative Works and Thematic Concerns
Hendrik van Anthonissen's oeuvre, while not vast, includes several notable paintings that highlight his skills and thematic interests.
View of Scheveningen Sands (c. 1641)
One of his most famous and intriguing works is the View of Scheveningen Sands, now in the Fitzwilliam Museum, Cambridge. For many years, this painting depicted a group of people gathered on the beach, seemingly looking out at an empty sea or an uneventful horizon. However, during a restoration in 2014, a remarkable discovery was made: a beached sperm whale had been painted over. The original composition, now revealed, shows the crowd gathered around this colossal creature, a common subject of public fascination and sometimes symbolic interpretation in the 17th century.
The overpainting likely occurred in the 18th or 19th century, perhaps because the owner found the whale gruesome or unseemly for a domestic setting. The revelation of the whale transforms the painting's narrative, turning it from a generic beach scene into a specific event. Beached whales were significant occurrences, drawing large crowds and often recorded by artists. They could be seen as omens, natural wonders, or even sources of valuable materials. Artists like Esaias van de Velde (c. 1587–1630) and Jan Saenredam (who engraved a design by Hendrick Goltzius of a beached whale) had depicted similar events. Van Anthonissen's treatment captures the curiosity and perhaps awe of the onlookers. The restored painting is a testament to his ability to record contemporary events with a keen eye for detail and human interest.
Ships in the Scheldt Estuary
Another significant work, sometimes attributed to the "Circle of Hendrick van Anthonissen," is Ships in the Scheldt Estuary, housed in the National Gallery of Art, Washington D.C. This painting showcases a busy waterway, with various types of vessels navigating the choppy waters characteristic of the Scheldt. It reflects the economic vitality of the region and the everyday realities of maritime commerce and transport. The composition, with its low horizon and expansive sky, is typical of Dutch marine painting. The careful rendering of the ships, their rigging, and the way they interact with the wind and waves demonstrates the artist's deep understanding of nautical subjects. Such scenes were popular with the Dutch public, who had a profound appreciation for the ships that were the lifeblood of their nation. This work can be compared to similar estuary scenes by contemporaries like Ludolf Bakhuizen (1630–1708) in his earlier period, or Abraham Storck (1644–1708), though Storck often favored more Mediterranean settings.
Other Marine Compositions
Van Anthonissen also painted numerous other scenes of ships at sea, in harbors, or navigating coastal waters. These often feature Dutch flags prominently, emphasizing national pride. His works typically include a variety of vessels, from small fishing boats (pinken or buizen) to larger merchantmen (fluyts) and warships. He paid close attention to the details of ship construction and rigging, a hallmark of Dutch marine art where accuracy was highly valued. The human element, though often small in scale compared to the vastness of the sea and sky, is always present, reminding the viewer of the sailors, fishermen, and passengers whose lives were intertwined with the maritime world. His depiction of waves could range from gentle swells to more agitated chop, demonstrating his versatility in capturing different sea states.
Technical Skill and Artistic Style
Hendrik van Anthonissen's technique was grounded in the traditions of Dutch oil painting. He typically worked on oak panels or canvas. His brushwork, particularly in his earlier, more Porcellis-influenced phase, could be relatively fluid and economical, aiming to capture effects of light and atmosphere quickly. In his more detailed works, such as naval battles or scenes with prominent ships, his brushwork became tighter and more descriptive, carefully delineating the forms of hulls, masts, and sails.
His palette, while often dominated by greys, blues, and browns, could also incorporate subtle touches of warmer colors, especially in the depiction of flags, figures, or distant land. He was skilled in rendering the translucency of water and the textures of clouds. Like many Dutch marine painters, he understood the principles of linear and aerial perspective, using them to create a convincing sense of depth and space in his compositions. The low horizon line, a common feature in Dutch seascapes, allowed for a dramatic expanse of sky, which van Anthonissen often filled with dynamic cloud formations that contributed to the overall mood of the painting. This emphasis on sky was a characteristic shared with landscape painters like Jacob van Ruisdael (c. 1628/29–1682), who, though younger, also mastered the depiction of dramatic cloudscapes.
Challenges in Attribution and Legacy
The study of Hendrik van Anthonissen's work is not without its challenges. As mentioned, his varied signatures have sometimes led to confusion. Furthermore, the sheer number of marine painters active in the Netherlands during the 17th century, many of whom worked in similar styles, can make definitive attributions difficult without clear provenance or signatures. His output was also likely affected by periods of activity in different cities.
Despite these challenges, Hendrik van Anthonissen is recognized as a competent and often engaging marine painter. He successfully navigated the stylistic shifts within the genre, from the tonalism of Porcellis to the clearer, more descriptive style influenced by de Vlieger. While he may not have reached the innovative heights of a Porcellis or the dramatic power of a Bakhuizen, or the refined elegance of Willem van de Velde the Younger (1633–1707), he produced a body of work that authentically reflects the Dutch maritime experience.
His paintings are found in various museum collections, including the Fitzwilliam Museum, the National Gallery of Art, the Rijksmuseum in Amsterdam, and others, as well as in private collections. His work is appreciated for its historical value, providing insights into Dutch shipbuilding, naval practices, and coastal life, as well as for its artistic merit within the rich tradition of Dutch marine painting. He was part of a lineage of marine specialists that included not only his father and father-in-law but also artists like Cornelis Claesz van Wieringen (c. 1576-1633), an older contemporary known for his detailed ship portraits and historical scenes, and Bonaventura Peeters the Elder (1614-1652), a Flemish contemporary who often depicted more dramatic shipwrecks and exotic locales.
Personal Life and Later Years
Relatively little is known about Hendrik van Anthonissen's personal life beyond his family connections. He married Barbelten (or Barber) Heyndricks Porcellis, and they are known to have had children. His movements between Amsterdam, Leiden, Leiderdorp, and possibly other locations suggest an artist seeking opportunities and perhaps following patronage. The art market in the Netherlands was competitive, and marine painters, while popular, needed to find their niche.
His date of death is recorded as before 12 November 1656, when his wife is mentioned as a widow in Amsterdam. He would have been around 50 years old. His relatively early death might have limited his potential for further stylistic development.
Conclusion: Anthonissen's Place in Dutch Art History
Hendrik van Anthonissen occupies a respectable place in the second tier of Dutch marine painters of the Golden Age. He was a skilled craftsman who absorbed the key artistic developments of his time, particularly the move towards greater naturalism and atmospheric representation pioneered by Jan Porcellis. His work provides valuable visual documentation of the 17th-century Dutch maritime world, from everyday coastal scenes to significant naval engagements.
The rediscovery of the whale in his View of Scheveningen Sands brought renewed attention to his work, highlighting the fascinating stories that can lie hidden beneath the surface of historical paintings. While he may have been overshadowed by some of the giants of marine art, such as the van de Veldes or Simon de Vlieger, Hendrik van Anthonissen remains an important representative of this quintessentially Dutch genre. His paintings continue to engage viewers with their depictions of the sea's enduring power and its central role in the life of the Dutch Republic, a legacy shared with other dedicated marine artists like Abraham van Beijeren (who also painted seascapes alongside his famous still lifes) and Julius Porcellis (Jan's son, who continued his father's style). Van Anthonissen's contribution helps to complete the rich tapestry of Dutch Golden Age art.
