Herman van der Myn (1684-1741) stands as a notable figure in the landscape of early 18th-century European art. Born in Amsterdam, this Dutch painter navigated the shifting artistic currents of his time, transitioning from the detailed traditions of Dutch flower painting to the more internationally favoured genres of history painting and portraiture. His career was marked by significant geographical movement, taking him from his native Netherlands to the prestigious courts of Germany and the bustling art scene of London, leaving behind a legacy not only in his own works but also through a prolific family of artists.
Early Life and Artistic Formation in the Netherlands
Herman van der Myn was born into a world where the echoes of the Dutch Golden Age were still palpable, yet new artistic influences were beginning to emerge. Initially, his path seemed destined for religion, a common trajectory for studious youths of the era. However, the allure of the visual arts proved stronger, and he redirected his focus towards painting. His formal training began in Amsterdam under the guidance of Ernst Stuven, a painter known for his flower and fruit still lifes. This initial tutelage grounded Van der Myn in the meticulous observation and detailed rendering characteristic of Dutch still life painting.
His early reputation was indeed built upon his skill as a flower painter. This genre, highly popular in the Netherlands, demanded technical precision and a keen eye for natural detail. Van der Myn absorbed these lessons well, developing a proficiency that would serve him throughout his career, even as his subject matter evolved. Seeking broader opportunities and recognition, he moved beyond Amsterdam. Sources suggest he became a member of the Guild of Saint Luke in Antwerp around 1712, a crucial step for any artist wishing to practice professionally in that city, signifying his growing ambition and establishment within the artistic community.
Further enriching his education, Van der Myn is also noted to have learned from Jan van Nickelen, another Dutch artist active during this period. It was reportedly through Van Nickelen that Herman was introduced to Jan Frans van Douven, a prominent portrait painter who enjoyed considerable success, particularly at the court in Düsseldorf. These connections indicate Van der Myn's integration into the wider network of artists and his strategic steps towards securing patronage and advancing his career beyond still life.
Court Painter in Düsseldorf
A significant turning point in Herman van der Myn's career arrived around 1717 when he secured the prestigious position of court painter to Johann Wilhelm, the Elector Palatine, in Düsseldorf. This appointment marked a definitive shift in his artistic focus towards history painting and portraiture, genres highly valued in aristocratic circles. Working at a vibrant court exposed him to international tastes and placed him alongside other renowned artists employed by the Elector.
Among his colleagues in Düsseldorf were figures like the celebrated flower painter Rachel Ruysch and the Dutch artist Willem Troost. This environment provided both competition and inspiration. Van der Myn's versatility likely appealed to the Elector, who commissioned history paintings from him, showcasing his ability to handle complex narratives and figural compositions. While specific titles of these history works are not always clearly documented today, their creation signifies his successful transition into this demanding genre.
His role at court was not limited to his own creations. Demonstrating his established skill, particularly recalling his roots in flower painting, Van der Myn also took on a teaching role. He instructed Jacoba van Nickelen, the daughter of his former associate Jan van Nickelen, in the art of flower painting. This interaction highlights the continuation of artistic knowledge transfer and Van der Myn's respected status within the court's artistic milieu. His time in Düsseldorf solidified his reputation as a painter capable of meeting the sophisticated demands of elite patronage.
The London Art Scene and Financial Struggles
Around 1721, seeking new opportunities or perhaps following the currents of patronage, Herman van der Myn relocated to London. England's capital was becoming an increasingly important centre for the arts, attracting talent from across Europe. The era saw the decline of Sir Godfrey Kneller's long dominance in portraiture and the rise of new figures, creating openings for skilled painters like Van der Myn. He initially found success, contributing to the city's diverse artistic offerings with his polished Dutch style.
However, the life of an artist, even one with court experience, could be precarious. Van der Myn encountered financial difficulties during his time in London. An anecdote survives detailing how debt compelled him to undertake work restoring paintings rather than creating new ones. Specifically, he was employed by Brownlow Cecil, the 8th Earl of Exeter, to work on the collection at Burghley House, near Stamford (though the source mentions Aylesbury, Northamptonshire, Burghley is the Earl's known seat and a more likely location for major restoration work). This episode, while illustrating his hardship, also speaks to his technical skills being recognized even in the area of conservation.
His period in London was thus a mixture of artistic activity and financial challenge. He continued to paint portraits and likely other subjects, adapting to the tastes of the English market. This experience broadened his horizons but also exposed him to the instabilities often faced by artists reliant on commissions and navigating a competitive environment far from the structured patronage of a court like Düsseldorf.
Royal Connections and Return to the Low Countries
A significant chapter unfolded in 1736 when Herman van der Myn travelled back to the Dutch Republic. He made this journey in the company of Prince William IV of Orange and his wife, Princess Anne (the British Princess Royal). This association suggests a high level of connection and favour, likely established during his time in London or through his existing reputation. Upon his return to the Netherlands, he received commissions to paint portraits of both the Prince and Princess, prestigious works that placed him at the centre of Stadtholderly patronage.
These royal portraits would have been important commissions, cementing his status upon his return. However, this period of favour seems to have been relatively short-lived. Sources indicate that Van der Myn subsequently fell out of favour with his royal patrons for reasons that remain unclear. This reversal of fortune prompted him to leave the Netherlands once again.
Following this episode, his movements became somewhat itinerant. Between roughly 1736 and 1737, he is documented as travelling between Brussels, Paris, and London. This period suggests a search for stable patronage or perhaps reflects the complex political and social networks connecting these European capitals. This phase underscores the mobility required of artists in this era to sustain their careers.
Later Years: Leeuwarden and Final Return to London
After his period of travel, Herman van der Myn returned once more to the Netherlands, settling for a time in Leeuwarden, the capital of the province of Friesland, around 1738. Leeuwarden was notably the seat of the Frisian branch of the House of Orange-Nassau, and William IV had been Stadtholder there before becoming Stadtholder of all the provinces. Van der Myn's choice of Leeuwarden might suggest an attempt to re-engage with circles related to his former patrons, or simply seeking a stable base.
His stay in Leeuwarden appears to have been relatively brief. The pull of London, despite his earlier financial troubles, remained strong. The city offered a larger, more dynamic art market and potentially greater opportunities. He made his final move back to the English capital, where he spent the last years of his life.
Herman van der Myn died in London in 1741, at the age of 57. His death occurred far from his birthplace, concluding a career characterized by remarkable geographical mobility and adaptation to different artistic environments and patronage systems across Northern Europe. His life journey reflects the increasingly international nature of the art world in the 18th century.
Artistic Style and Techniques
Herman van der Myn's artistic style evolved throughout his career, reflecting his training and the diverse contexts in which he worked. His initial grounding under Ernst Stuven instilled in him the meticulous technique of Dutch flower painting, characterized by fine detail, careful rendering of textures, and accurate observation of nature. While he later moved away from specializing in still life, this early training likely informed the precision found in the fabrics, lace, and accessories within his portraits.
As he transitioned to history painting and portraiture, particularly during his time in Düsseldorf and London, his style adapted to prevailing tastes. His portraits are often noted for their smooth finish, elegant presentation, and competent capture of likeness. He worked within the broader European tradition of court portraiture, influenced by artists like Jan Frans van Douven and the general trend towards refinement and idealization associated with the late Baroque and emerging Rococo sensibilities. Compared to the psychological depth of earlier Dutch masters like Rembrandt or the vigorous brushwork of Frans Hals, Van der Myn's approach was typically more polished and perhaps less emotionally penetrating, aligning with the decorum expected by aristocratic patrons.
His history paintings, while less numerous or well-documented today, likely followed academic conventions, focusing on clear narrative, balanced composition, and idealized figures drawn from mythological or historical sources. His work in this genre demonstrated his versatility and ambition to engage with the most highly regarded form of painting according to traditional art theory. Overall, Van der Myn's style can be characterized as technically proficient, adaptable, and representative of the polished, international aesthetic favoured in the early to mid-18th century, bridging Dutch traditions with broader European trends.
Representative Works
Pinpointing specific, universally recognized masterpieces by Herman van der Myn can be challenging, as his fame rests more on his overall career and family legacy than on a few iconic images. However, several works and types of work represent his output. His Self-Portraits offer insight into his persona and technical skill. The portraits he painted of Prince William IV of Orange and Princess Anne are significant due to their prestigious subjects and connection to his period of royal patronage in the Netherlands.
The commissions for the 8th Earl of Exeter, Brownlow Cecil, whether original portraits or the restoration work he undertook at Burghley House, mark his time in England and his interaction with the British aristocracy. While the specific paintings restored might be hard to identify, any surviving portraits of the Earl or his family from this period could potentially be linked to Van der Myn.
The snippet also mentions a portrait depicting Tamar held in a private collection, suggesting his engagement with biblical or historical subjects presented in a portrait-like format, a common practice in the era. His early Flower Paintings, though less associated with his later career, form the foundation of his artistic beginnings and would have resembled the detailed works of his teacher Ernst Stuven and contemporary Rachel Ruysch. While perhaps not as widely celebrated today as some contemporaries, these works collectively demonstrate his range from detailed still life to formal portraiture and narrative history painting.
An Artistic Dynasty: Family and Legacy
One of Herman van der Myn's most significant contributions to art history extends beyond his own canvases: he was the patriarch of a remarkable family of artists. His wife, Susanna Bloemendaal, was herself a painter, creating an artistic household. Together, they raised a number of children who followed in their parents' footsteps, establishing the Van der Myn name firmly within the 18th-century art world, particularly in England.
Five of his sons became painters: Frans van der Myn (c. 1715-1783) was arguably the most successful, establishing a strong reputation in London for his portraits and conversation pieces, sometimes working in pastels. Robert van der Myn (active mid-18th century) also worked as a painter. Andreas van der Myn and Gerard van der Myn were active artists as well, though perhaps less documented. His daughter, Cornelia van der Myn (1709-c. 1782), was also a talented artist, known for her portraits and detailed flower paintings, exhibiting her work in London.
This continuation of the artistic profession through multiple children is a testament to the environment Herman fostered and the training they received, likely initially from him and their mother. The Van der Myn family's collective output, especially in portraiture, contributed significantly to the London art scene for several decades. Herman's influence also extended to students outside the family, such as an artist named Hengel, who reportedly travelled to London specifically to learn from him, indicating his recognized status as a teacher.
Place in Art History and Conclusion
Herman van der Myn occupies a distinct place in 18th-century art history as a skilled and adaptable painter whose career bridged the late Dutch tradition with the emerging international styles favoured by European courts and the London market. While perhaps not considered an innovator on the scale of the great 17th-century Dutch masters, he was a highly competent artist who successfully navigated the demands of prestigious patrons like the Elector Palatine and the Prince of Orange. His proficiency in portraiture provided a reliable foundation for his career, and his early work in flower painting connected him to a strong Dutch heritage.
His peripatetic career is characteristic of many artists of his time, reflecting the shifting centres of patronage and the increasing interconnectedness of European art markets. He played a role in transmitting Dutch painting techniques, particularly in portraiture, to England. Contemporaries like Willem Troost and his brother Cornelis Troost in the Netherlands, or Michael Dahl, Joseph Highmore, and the young William Hogarth in London, form the backdrop against which Van der Myn operated.
Ultimately, Herman van der Myn's legacy is twofold: his own body of work, characterized by technical skill and elegant execution, primarily in portraiture; and his role as the founder of an artistic dynasty whose members, especially his son Frans and daughter Cornelia, made their own contributions to 18th-century art, particularly in England. He remains an important figure for understanding the transition in Dutch art during the early 18th century and the cross-cultural artistic exchanges between the Netherlands, Germany, and Great Britain.
