The 17th century in the Netherlands, often termed the Dutch Golden Age, was a period of extraordinary artistic efflorescence, economic prosperity, and burgeoning global trade. Amidst this vibrant milieu emerged a fascinating figure, Jacob Esselens, a man who deftly navigated the worlds of commerce and art. While perhaps not as universally renowned as some of his contemporaries, Esselens carved out a distinct niche for himself as a painter and draughtsman, primarily celebrated for his evocative landscapes and city views, all while maintaining a successful career as a merchant. His life and work offer a compelling window into the multifaceted nature of Dutch society and the diverse paths to artistic creation during this remarkable era.
Early Life and Artistic Beginnings in a Flourishing Amsterdam
Jacob Esselens was born in Amsterdam in 1626, a city then rapidly establishing itself as the commercial and cultural heart of Europe. He passed away in the same city on January 15, 1687. Unlike many artists of his time who underwent rigorous apprenticeships in established workshops, Esselens is largely considered to have been self-taught. This path, while less conventional, was not entirely unheard of, particularly for individuals who might have had other professional pursuits. His artistic development was likely fueled by keen observation, personal study of available artworks, and an innate talent that he cultivated alongside his mercantile activities.
The Amsterdam of Esselens's youth was a crucible of artistic innovation. The demand for art was high, driven by a wealthy merchant class eager to adorn their homes with paintings reflecting their status, interests, and the beauty of their nation. This environment would have provided ample opportunity for a budding artist like Esselens to absorb a wide range of styles and subjects, even without formal tutelage.
Influences and the Shaping of an Artistic Vision
Despite his self-taught background, Esselens's work did not develop in a vacuum. Art historians have identified several key influences that likely shaped his artistic sensibilities. The towering figure of Rembrandt van Rijn (1606-1669), whose dramatic use of light and shadow (chiaroscuro) and profound psychological insight revolutionized Dutch art, is often cited. While Esselens's style is distinct, the atmospheric qualities and attention to human detail in some of his works may echo Rembrandt's pervasive influence on the Amsterdam art scene.
More directly pertinent to Esselens's landscape and marine subjects was Simon de Vlieger (c. 1601-1653). De Vlieger was a master of marine painting and atmospheric, often silvery-toned, landscapes. His ability to capture the nuances of light on water and the Dutch sky set a standard for many artists, and Esselens's coastal scenes and delicate tonal gradations often reflect a similar sensitivity.
The influence of Italianate Dutch painters is also discernible. Artists like Cornelis van Poelenburgh (1594/1595-1667), known for his small-scale, idealized Arcadian landscapes often populated with mythological or biblical figures, and Adriaen van de Velde (1636-1672), who excelled at painting elegant figures and animals within luminous, often Italian-inspired landscapes, seem to have left their mark. Esselens's occasional forays into classical or Arcadian themes, and the refined staffage (figures) in some of his landscapes, suggest an awareness and appreciation of this popular trend. Indeed, some sources specifically note Adriaen van de Velde's impact on his landscape style.
The Dual Life: Merchant and Artist
A defining characteristic of Jacob Esselens's career was his active involvement in commerce. He was a successful merchant dealing in silks and velvets, a trade that inherently involved extensive travel. This profession was not merely a backdrop to his artistic pursuits; it was integral to his life and, significantly, to his art. His business journeys took him across Europe, with documented or inferred travels to Italy, France, Germany, England, and Scotland.
These travels were not just for business; they were invaluable opportunities for artistic exploration. Esselens was an avid draughtsman, and his journeys provided him with a rich tapestry of new sights, landscapes, and urban environments to sketch and later develop into paintings. This direct experience of diverse topographies and architectural styles significantly broadened his artistic repertoire beyond the typical Dutch scenes favored by many of his contemporaries. His status as a merchant likely also afforded him access to circles and patrons he might not have encountered solely as an artist.
A Journey Along the Rhine and Encounters with Contemporaries
A notable episode in Esselens's travels occurred in 1663 when he journeyed along the Rhine River. He was not alone on this artistic expedition; he was accompanied by two other prominent Amsterdam artists, Gerbrand van den Eeckhout (1621-1674) and Jan Lievens (1607-1674). Van den Eeckhout was one of Rembrandt's most accomplished pupils, known for his historical and biblical scenes, portraits, and genre paintings. Lievens, a child prodigy, had a varied career, working in Leiden (alongside the young Rembrandt), Antwerp (where he was influenced by Flemish Baroque masters like Peter Paul Rubens and Anthony van Dyck), and eventually Amsterdam.
This joint sketching tour indicates a collegial relationship among these artists and a shared interest in capturing the picturesque scenery of the Rhineland. The drawings and paintings resulting from such trips were highly valued, both as independent works of art and as source material for studio compositions. Esselens's views from this journey, like those of his companions, contributed to the growing body of topographical art that was popular in the Netherlands.
Artistic Themes and Genres
Jacob Esselens's oeuvre is characterized by its focus on landscapes, cityscapes, and coastal scenes, often enlivened with carefully rendered figures and animals.
Landscapes: Dutch and Beyond:
Esselens painted a variety of landscapes. Some are quintessentially Dutch, featuring flat terrains, winding rivers, and wooded areas under expansive skies, reminiscent of artists like Jan van Goyen (1596-1656) or Salomon van Ruysdael (1600/1603-1670) in their earlier, more tonal phases, though Esselens often employed a brighter palette. His travels also allowed him to depict non-Dutch scenery, including the rolling hills of England or the rugged terrain of Scotland, which offered a contrast to the familiar Low Countries. He also produced "fantastical" or imaginary landscapes, sometimes with an Arcadian or classical flavor, where idealized nature formed a backdrop for elegant figures or mythological narratives, aligning him with the Italianate tradition.
Cityscapes and Topographical Views:
One of Esselens's most significant contributions lies in his topographical views, particularly his panoramic depictions of English towns. These were highly sought after, reflecting a broader European interest in accurate representations of cities and important sites. His detailed drawings and paintings served not only as artistic works but also as valuable historical records of urban environments in the 17th century. The precision required for such views suggests a meticulous eye and a skilled hand.
Coastal and Marine Scenes:
Given the Netherlands' maritime prowess and its extensive coastline, it is no surprise that coastal and beach scenes were a popular genre, and Esselens contributed capably to it. His beach scenes often feature fisherfolk selling their catch, ships at anchor or navigating coastal waters, and elegantly dressed townspeople enjoying the seaside air. These works often exhibit the delicate atmospheric effects and silvery light associated with Simon de Vlieger and other marine specialists like Willem van de Velde the Younger (1633-1707) or Ludolf Bakhuizen (1630-1708), though Esselens's focus was typically more on the shore activities than the open sea.
Figure Painting (Staffage):
The figures populating Esselens's landscapes and cityscapes are noteworthy. They are not mere afterthoughts but are often rendered with considerable care and character. Whether depicting elegant ladies and gentlemen engaged in leisurely pursuits, hardworking fishermen, or hunters with their dogs, his figures add life, narrative interest, and a sense of scale to his compositions. This skill in figure painting was highly valued and distinguished his work.
Representative Works and Major Achievements
While a comprehensive catalogue raisonné might be extensive, several works and series stand out in discussions of Jacob Esselens's art.
His "Panoramic Views of English Towns" are perhaps his most famous and historically significant creations. These meticulous drawings, many of which were destined for or included in prestigious collections like the Atlas van der Hem (a multi-volume atlas compiled by Laurens van der Hem, now in the Austrian National Library, Vienna), showcase his skill as a topographical artist. Views of Greenwich, Chester, Rochester, and Leeds are among those attributed to him from his English travels. These works are invaluable for their detailed depiction of 17th-century English urban landscapes. For instance, his "View of Rye, Sussex" captures the distinctive character of the English coastal town.
"Classical Landscape with Figures" is cited as a representative work that demonstrates his engagement with the Italianate tradition. Such paintings typically feature idealized scenery, classical ruins, and figures in antique dress, evoking a timeless, pastoral world. These works catered to a sophisticated taste for classical antiquity prevalent among educated Dutch patrons.
Other notable paintings include "Landscape with Hunters," which would have combined his skill in landscape rendering with lively depictions of figures and animals in action, a popular subgenre. His "Scottish Landscape" is particularly intriguing, as Scottish scenes were less common in Dutch art, highlighting the breadth of his travels and his willingness to tackle unfamiliar terrains. This work, along with others described as having a "southern light," suggests an ability to capture different climatic and lighting conditions effectively. An "Arcadian Landscape" would further cement his connection to the Italianate style, focusing on idyllic, pastoral beauty.
His beach scenes, often depicting lively interactions between fisherfolk and townspeople, are also characteristic. These works combine genre elements with landscape and marine painting, reflecting the multifaceted nature of Dutch coastal life.
Personal Life and Later Years
Information about Esselens's personal life is somewhat fragmentary, as is common for many artists of this period who were not of the absolute first rank of fame. It is known that he married relatively late in life, in 1668. His wife passed away in 1677, after which he is increasingly referred to in documents simply as a "merchant," perhaps indicating a greater focus on his commercial activities in his later years or simply a reflection of how he was primarily identified in official records.
He is recorded as having married twice and fathered children. One of his wives was reportedly the daughter of Abraham Rutgers (dates uncertain, active mid-17th century). Rutgers himself was an amateur draughtsman and a friend or close associate of Esselens. This connection proved significant for Esselens's posthumous legacy, as Rutgers became the administrator of Esselens's estate and is known to have copied many of Esselens's works. This act of copying, whether for personal study, dissemination, or preservation, helped to keep Esselens's artistic vision alive.
Art Historical Assessment and Legacy
Jacob Esselens occupies an interesting position in the pantheon of Dutch Golden Age artists. As a largely self-taught painter who successfully balanced his artistic passions with a demanding career as a merchant, he exemplifies a particular type of cultural producer active in the 17th-century Netherlands. His extensive travels, facilitated by his business, uniquely enriched his artistic output, allowing him to depict a wider range of European landscapes and cityscapes than many of his contemporaries who rarely ventured far from home.
His style is often described as refined and delicate, with a good eye for detail and atmospheric effect. While influenced by major figures like Rembrandt and Simon de Vlieger, and by the popular Italianate trend exemplified by artists such as Jan Both (c. 1610/18-1652) or Nicolaes Berchem (1620-1683), Esselens developed a recognizable personal manner. His topographical views, particularly of English towns, are considered his most significant contribution, valued for both their artistic merit and their historical documentary importance.
Art historians acknowledge that while some of his works, perhaps certain Arcadian landscapes, might occasionally be perceived as less innovative or "flatter" compared to the dramatic intensity of a Jacob van Ruisdael (c. 1628/29-1682) or the rustic charm of a Meindert Hobbema (1638-1709), Esselens was capable of producing "astonishingly fine" pieces. His best works demonstrate a sophisticated handling of light, elegant figure drawing, and a keen observational skill.
His legacy was, in part, secured by the efforts of friends like Abraham Rutgers. The inclusion of his drawings in significant collections like the Atlas van der Hem also ensured their preservation and accessibility to later generations. Today, his works can be found in museums and private collections, appreciated for their charm, historical value, and the unique perspective they offer from an artist who was both an insider in the Dutch art world and an experienced observer of broader European life.
Conclusion: A Man of Two Worlds
Jacob Esselens stands as a testament to the diverse talents and enterprising spirit of the Dutch Golden Age. He was a man who successfully inhabited two worlds: the pragmatic, profit-driven realm of international trade and the creative, expressive domain of art. His profession as a silk and velvet merchant not only provided him with a livelihood but also fueled his artistic endeavors by enabling extensive travel and exposure to a wide array of visual stimuli.
His landscapes, city views, and coastal scenes, marked by their refined execution, atmospheric sensitivity, and often cosmopolitan subject matter, reflect this dual identity. While he may not have achieved the revolutionary impact of a Rembrandt or the specialized mastery of a Willem van de Velde the Younger in marine painting, Jacob Esselens made a distinctive and valuable contribution to the rich tapestry of 17th-century Dutch art. His work continues to be appreciated for its aesthetic qualities, its historical insights, and the compelling story of a merchant who was also a dedicated and talented artist, capturing the world as he saw it on his many journeys.
