Jacob Knyff (1638-1681) stands as a notable, if sometimes overlooked, figure in the rich tapestry of Dutch Golden Age art, particularly for his later contributions to the artistic landscape of Restoration England. A painter of marine scenes, coastal landscapes, and innovative topographical views, Knyff’s career bridged the artistic traditions of the Netherlands with the burgeoning demand for such works in England under Charles II. His life and art offer a fascinating glimpse into the cross-cultural artistic exchanges of the 17th century.
Early Life and Dutch Artistic Heritage
Born in The Hague in 1638, Jacob Knyff was immersed in an artistic environment from his earliest years. He hailed from a Flemish family that had established a reputation for painting, particularly landscapes. His father, Wouter Knyff (sometimes recorded as Kniphof, c. 1605/07–1693), was a respected painter of river and marine scenes. Wouter himself was a pupil and follower of the influential Dutch landscape artist Jan van Goyen, one of the pioneers of tonal landscape painting in the Netherlands. Van Goyen, alongside artists like Salomon van Ruysdael and Pieter de Molijn, revolutionized landscape art by focusing on atmospheric effects and a subdued palette, capturing the essence of the Dutch countryside and waterways. Wouter Knyff’s work, often depicting river views with meticulous attention to shipping and architectural details, undoubtedly provided Jacob with his foundational training and a deep appreciation for marine subjects.
The Dutch Golden Age, spanning roughly the 17th century, was a period of extraordinary artistic production, particularly in landscape and marine painting. The Dutch Republic’s maritime power, extensive trade networks, and fierce pride in its hard-won independence fueled a demand for art that celebrated its achievements and its unique environment. Marine painters like Jan Porcellis and Simon de Vlieger were masters of capturing the dynamic interplay of sea, sky, and ships, often imbuing their scenes with dramatic atmosphere. Later, artists such as Ludolf Bakhuizen would become renowned for their powerful depictions of stormy seas and naval engagements. It was within this vibrant artistic milieu that Jacob Knyff developed his initial skills.
The Parisian Interlude
Before establishing himself in England, Jacob Knyff spent a period working in Paris. Records indicate his presence there around 1672. During this time, he is known to have taken on at least one pupil, Johannes Glauber (1646-c. 1726). Glauber, a Dutch painter from Utrecht, would later become known for his classical Italianate landscapes, often collaborating with other artists by painting the landscape backgrounds for their figural compositions. Knyff’s time in Paris, though perhaps brief, would have exposed him to different artistic currents, including the more classical and formal tendencies prevalent in French art under Louis XIV, contrasting with the naturalism of much Dutch painting. The French art scene was dominated by figures like Charles Le Brun, who oversaw artistic production for the crown, and landscape painters such as Claude Lorrain, whose idealized Italianate scenes were highly influential, though stylistically distinct from Knyff's Dutch-rooted approach.
While in Paris, Knyff is also noted to have attended the funeral of Nicolas Becher II, another artist, suggesting his integration into the local artistic community. This period likely broadened his artistic horizons before his eventual move across the Channel.
Arrival in England and Royal Patronage
Jacob Knyff relocated to England in either 1672 or 1673. This move coincided with a period of significant cultural exchange between the Netherlands and England, particularly following the Restoration of the monarchy in 1660. Charles II, having spent years in exile on the Continent, was keen to emulate the grandeur of European courts and was a significant patron of the arts. He actively encouraged foreign artists to work in England, leading to an influx of talent, especially from the Low Countries.
Upon his arrival, Knyff found favor and became one of the artists associated with Charles II's court. This was a period when Dutch artists were particularly sought after in England. The renowned marine painters Willem van de Velde the Elder and his son, Willem van de Velde the Younger, arrived in England around the same time as Knyff, in late 1672 or early 1673, and were quickly appointed as court painters to Charles II. Their dramatic and meticulously detailed depictions of naval battles and shipping scenes set a high standard for marine art in England. Other Dutch and Flemish artists, such as Sir Peter Lely, who dominated portraiture, and later Sir Godfrey Kneller, also found immense success in England.
Knyff’s skills in depicting maritime subjects and landscapes were well-suited to the tastes of the English court and aristocracy, who had a keen interest in naval power, trade, and the picturesque qualities of their own coastline and estates.
Master of Marine and Coastal Views
In England, Jacob Knyff became particularly known for his depictions of the English coast, its rivers, and its castles. His works often featured detailed representations of Stuart-era ships, and he developed a characteristic approach of frequently portraying vessels from a stern or stern-quarter view. This perspective allowed for a comprehensive depiction of the ornate carvings and lanterns that often adorned the sterns of warships and royal yachts of the period, showcasing the grandeur and craftsmanship of these vessels.
His paintings captured specific locations with a degree of accuracy that suggests direct observation, combined with an artistic sensibility for composition and atmosphere. He painted scenes of bustling dockyards, tranquil anchorages, and ships navigating coastal waters, providing valuable visual records of maritime life and naval architecture in 17th-century England. His palette, while rooted in Dutch traditions, adapted to the specific light and atmosphere of the English settings he depicted.
The Royal Yacht Cleveland: A Pivotal Commission
One of Jacob Knyff’s most significant and well-documented works from his English period is his painting of the royal yacht Cleveland, completed around 1673. This painting is more than just a ship portrait; it records a specific event: Charles II’s visit to the fleet. The Cleveland was a lavishly appointed yacht designed for Barbara Villiers, Duchess of Cleveland, one of Charles II’s most prominent mistresses. The vessel itself was a product of English shipbuilding prowess, designed by Sir Anthony Deane, a leading naval architect and shipbuilder of the era.
Knyff’s painting, often titled The Royal Yacht Cleveland with the Royal Sovereign in the background, at the Nore, showcases the elegant yacht in the company of the formidable warship Royal Sovereign. The Nore is an anchorage in the Thames Estuary, a frequent gathering point for the Royal Navy. The work exemplifies Knyff's skill in rendering the intricate details of the ships, the play of light on the water, and the expansive sky. It also highlights the importance of royal yachts not just as pleasure craft but as symbols of status and royal presence within the naval sphere. This commission underscores Knyff's connection to the court and his ability to capture scenes of royal significance.
The Influence of Willem van de Velde
It is widely acknowledged that Jacob Knyff’s work, particularly his marine paintings, shows the influence of Willem van de Velde the Younger (1633-1707). The Van de Veldes, father and son, were the preeminent marine artists of their time, first in the Netherlands and then in England. Willem van de Velde the Younger, in particular, was celebrated for his refined technique, his accurate depiction of ships, and his ability to convey diverse weather conditions and the subtle nuances of light on water.
Knyff is said to have, at times, imitated the style of Van de Velde the Younger. This was not uncommon in an era where successful artistic formulas were often emulated. Both artists were working in London, serving the same royal patron, and depicting similar subjects. While Van de Velde the Younger’s work often achieved a greater level of atmospheric subtlety and compositional dynamism, Knyff’s paintings possess their own distinct qualities, often characterized by a clear, bright light and a strong sense of topographical accuracy. The presence of the Van de Veldes in London undoubtedly spurred on other marine painters, including Knyff, while also setting a benchmark for quality and accuracy.
Innovations in Perspective: The Bird's-Eye View
Beyond his conventional marine and coastal scenes, Jacob Knyff is credited with introducing and popularizing a particular type of perspective in his English landscapes: the "bird's-eye view." This elevated, panoramic perspective offered a comprehensive overview of an estate, a stretch of coastline, or a town, as if viewed from a high vantage point. While not literally painted from a balloon (as such technology was far in the future), these views were constructed through a combination of observation, surveying techniques, and artistic imagination.
This type of view was particularly appealing to landowners who wished to have a visual record of their estates, showcasing the extent of their property, the layout of their gardens, and the grandeur of their houses. Knyff's adoption of this perspective was innovative for its time in England. Some contemporary descriptions even marveled at the effect, suggesting it was like seeing the landscape "from a balloon," highlighting the novelty and impressive scope of these depictions. This format was later more extensively developed and popularized by his younger brother, Leonard Knyff.
Collaboration with Leonard Knyff and Britannia Illustrata
Jacob Knyff’s brother, Leonard Knyff (1650-1722), also became a prominent artist in England, specializing in animal paintings, still lifes, and particularly bird's-eye views of country houses and estates. While Jacob seems to have pioneered or at least significantly utilized this perspective in his English work, Leonard took it to new heights of popularity and refinement.
The Knyff brothers are associated with the monumental publication Britannia Illustrata: Or, Knyff and Kip, Views of Several of the Queen's Palaces, as Also of the Principal Seats of the Nobility and Gentry of Great Britain, Curiously Engraven on 80 Copper-Plates. This influential series of engravings, mostly executed by Johannes Kip after drawings by Leonard Knyff, provided invaluable visual documentation of early 18th-century English architecture and garden design. While Jacob died before the main period of this publication, his earlier work with bird's-eye views undoubtedly contributed to the development of this genre in England, which Leonard then mastered. These topographical views were part of a broader European tradition, with artists like Wenceslaus Hollar having earlier produced detailed panoramic views and maps of cities, including London.
Notable Works and Artistic Style
Beyond the Cleveland painting, other works by Jacob Knyff further illustrate his artistic focus during his English period. Paintings such as Shipbuilding and Docks on the River at Deptford (c. 1673) provide a fascinating glimpse into the bustling activity of a major English shipyard. Deptford was a critical center for the Royal Navy, and Knyff’s depiction would have captured the industry and maritime strength of England.
Another significant work is English Ships near Castle Cornet, Guernsey (c. 1673). Castle Cornet, a historic fortification guarding the harbor of St Peter Port, Guernsey, is rendered with attention to its architectural features, set against a backdrop of English ships. Such paintings served not only as artistic representations but also as records of important strategic locations and symbols of English maritime reach.
Knyff’s style is characterized by a Dutch attention to detail and a concern for topographical accuracy. His ships are rendered with a shipwright’s eye for structure and rigging, and his landscapes, while artistically composed, often convey a strong sense of place. His color palette is generally clear and well-lit, differing somewhat from the more overtly atmospheric or tonal approaches of some of his Dutch contemporaries like Jan van Goyen or the later, more dramatic seascapes of Ludolf Bakhuizen.
Artistic Circle and Contemporaries in England
During his time in London, Jacob Knyff would have been part of a vibrant community of artists, many of them fellow expatriates from the Low Countries. Besides the Van de Veldes, other Dutch artists active in England included Hendrik Danckerts (c. 1625-1680), known for his topographical paintings and portraits of royal residences and landscapes. Jan Griffier I (c. 1652-1718) was another Dutch painter who came to England and became known for his river scenes, landscapes, and views of London, sometimes incorporating fantastical elements. Thomas Wyck (or Wijck, c. 1616-1677) also spent time in England, painting views of London, including scenes of the Great Fire, as well as Italianate landscapes and genre scenes.
These artists, along with Knyff, contributed to a growing market for landscape and topographical art in England. They brought with them the technical skills and artistic conventions of the highly developed Dutch school, adapting them to English subjects and tastes. Their work collectively helped to shape the course of landscape painting in Britain. Other marine painters whose influence might have been felt, or whose works were known, include Abraham Storck (1644-1708), an Amsterdam-based artist who also painted English subjects, including views of royal yachts and London's waterfront.
Signature and Later Years
An interesting aspect of Jacob Knyff’s career is his practice regarding signatures. It is noted that he rarely, if ever, signed his works until after 1673. The reasons for this are not entirely clear but may relate to workshop practices, collaborations, or simply a personal habit that changed once he became more established in England. His "English period," marked by these signed works and his activity at court, effectively lasted from his arrival until his death.
Jacob Knyff passed away in London in 1681, relatively young at the age of about 43. His career in England, though spanning less than a decade, was productive and left a distinct mark, particularly in the realm of marine painting and the early development of the bird's-eye topographical view.
Legacy
Jacob Knyff’s legacy lies in his skilled depictions of English maritime life and landscapes during a pivotal period in the nation's history. His paintings serve as valuable historical documents, offering insights into naval architecture, shipbuilding, and the appearance of coastal and riverine England in the late 17th century. As a Dutch artist working in England, he was part of a significant wave of cultural transmission that enriched English art.
While perhaps overshadowed in the broader narrative of art history by figures like the Van de Veldes in marine art, or his brother Leonard in the specific niche of bird's-eye views for publications like Britannia Illustrata, Jacob Knyff’s contributions remain significant. His works are held in various public and private collections, including the National Maritime Museum in Greenwich, where his paintings of ships and naval scenes are particularly appreciated. He successfully blended his Dutch artistic training with the demands and subjects of his adopted country, creating a body of work that captures the spirit of Restoration England's maritime world. His pioneering use of the bird's-eye perspective also paved the way for a genre that would flourish in the following decades, providing a unique visual record of the British landscape and its grand estates.
Conclusion
Jacob Knyff’s journey from the artistic hothouse of The Hague, through Paris, to the court of Charles II in London, reflects the mobility and adaptability of artists in the 17th century. His specialization in marine and coastal scenes, his detailed renderings of Stuart ships, and his innovative use of the bird's-eye view secured him a place among the notable painters of his time. Influenced by the masters of the Dutch Golden Age, including his father Wouter Knyff and contemporaries like Willem van de Velde the Younger, Jacob Knyff forged his own path, contributing a distinct Dutch sensibility to the evolving artistic landscape of England. His paintings continue to be valued not only for their aesthetic qualities but also for the vivid window they provide onto the maritime and topographical world of 17th-century Britain.
