Jacob Symonsz. Pynas, a significant yet often subtly acknowledged painter of the Dutch Golden Age, carved a distinct niche for himself within the vibrant artistic milieu of the 17th-century Netherlands. Born around 1592, likely in Haarlem, and active until at least 1650, possibly later, Pynas is particularly renowned for his historical and religious narratives, his connection to the Pre-Rembrandtist circle, and, most notably, his brief but impactful tutelage of the young Rembrandt van Rijn. His work, alongside that of his brother Jan Pynas, forms a crucial link in understanding the development of Dutch history painting, bridging the gap between earlier Mannerist traditions and the burgeoning Baroque realism that would define the era.
Early Life and Artistic Genesis
Jacob Pynas emerged from a merchant family, a common background for many artists of the period, where societal shifts were fostering a burgeoning middle class with an appetite for art. His birthplace, Haarlem, was a bustling center of artistic innovation, home to masters like Frans Hals, whose lively portraiture was already gaining acclaim. It was in this environment that Jacob, and his slightly older brother Jan Symonsz. Pynas (c. 1583/4–1631), likely received their initial artistic inclinations.
The most definitive aspect of Jacob Pynas's early training was his apprenticeship under Pieter Lastman (1583–1633) in Amsterdam. Lastman himself had returned from Italy around 1607, imbued with the influences of Italian masters and particularly the German painter Adam Elsheimer (1578–1610), who was active in Rome. Lastman specialized in biblical and mythological scenes, characterized by vivid colors, dramatic gestures, and complex multi-figure compositions. This tutelage under Lastman was pivotal, instilling in Jacob Pynas a preference for narrative subjects and a certain Italianate flavor that would become a hallmark of his style and that of the Pre-Rembrandtists.
The Italianate Current and the Pre-Rembrandtists
While direct documentary evidence of Jacob Pynas traveling to Italy is scarce, it is highly probable, given the artistic trends of the time and the clear Italianate influences in his work. His brother, Jan Pynas, is known to have spent time in Italy, around 1605, in the company of Lastman and other Dutch artists. The allure of Italy, with its classical ruins and the revolutionary art of painters like Caravaggio, was irresistible for ambitious Northern European artists. Adam Elsheimer, working in Rome, was a particularly potent influence on this generation. Elsheimer's small-scale paintings on copper, with their meticulous detail, innovative use of light, and poetic interpretations of biblical and mythological narratives, resonated deeply with Dutch painters seeking new modes of expression.
Jacob and Jan Pynas, along with Pieter Lastman, Claes Cornelisz. Moeyaert, Moyses van Wtenbrouck, and others, formed a loose group often referred to by art historians as the "Pre-Rembrandtists." This term signifies their role in developing a style of history painting that anticipated and directly influenced the early work of Rembrandt. Their paintings typically featured small, expressive figures set within expansive, often imaginary, landscapes or architectural settings. They favored dramatic lighting, rich, sometimes jewel-like colors, and a focus on the emotional core of the narrative. The works of the Pynas brothers are so similar in style and subject matter that attributions have often been debated and confused by scholars over the centuries, a testament to their close working relationship or shared artistic vision.
Artistic Style and Thematic Concerns
Jacob Pynas's oeuvre is dominated by historical, biblical (especially Old Testament), and mythological subjects. He possessed a distinct ability to imbue these narratives with a palpable sense of drama and human emotion. His compositions, while sometimes appearing crowded, are carefully constructed to guide the viewer's eye to the central action. He often employed strong contrasts of light and shadow, a technique derived from Caravaggio and filtered through Elsheimer and Lastman, to heighten the dramatic impact of his scenes.
His figures, though not always anatomically perfect by classical standards, are expressive and dynamic, their gestures and facial expressions conveying the emotional tenor of the story. Pynas paid considerable attention to details of costume, accoutrements, and landscape elements, which lent an air of authenticity and richness to his scenes. His landscapes, whether depicting pastoral settings or rugged wilderness, often play an active role in the narrative, contributing to the mood and atmosphere of the painting. The use of warm, earthy tones punctuated by vibrant highlights of color is characteristic of his palette.
Notable Works and Their Significance
Several key works illustrate Jacob Pynas's artistic contributions. His Mercury and Battus from 1618, now in the Aschaffenburg Staatsgalerie, depicts a scene from Ovid's Metamorphoses. The painting showcases his ability to integrate figures into a detailed landscape, with Mercury, identifiable by his caduceus and winged hat, conversing with the shepherd Battus. The composition and the rendering of the figures and animals reflect the influence of Elsheimer and Lastman.
The Stoning of St. Stephen, dated 1623, is another significant piece, demonstrating his capacity for depicting scenes of intense religious drama. The dynamic arrangement of figures, the expressive portrayal of suffering and zeal, and the dramatic use of light are characteristic of his mature style during this period. This subject was popular among artists who wished to explore themes of martyrdom and faith.
A particularly interesting work is The Raising of Lazarus, dated 1624. This small oil painting has been cited as a potential work executed during Rembrandt's brief period of study with Pynas, or at least heavily influenced by him. The theme itself was one that Rembrandt would later tackle in a more monumental fashion, and Pynas's version, with its focus on the emotional reactions of the onlookers and the dramatic emergence of Lazarus, likely provided a template or inspiration.
Other notable paintings include Jacob and Esau, which captures the poignant biblical reunion, and The Liberation of Saint Peter, a theme that allowed for the depiction of divine intervention and dramatic nocturnal lighting, with an angel leading the apostle from prison. His last known dated work, Apollo and Daphne from 1656, indicates his continued engagement with mythological themes late into his career, showcasing a dynamic portrayal of transformation and pursuit.
The Rembrandt Connection: A Pivotal Mentorship
Perhaps Jacob Pynas's most enduring claim to fame is his role as one of Rembrandt van Rijn's teachers. According to the early art historian Arnold Houbraken in his De Groote Schouburgh der Nederlantsche Konstschilders en Schilderessen (1718–1721), after Rembrandt completed about six months of apprenticeship with Pieter Lastman in Amsterdam (around 1624-1625), he spent "a few months" studying with Jacob Pynas. While this period was short, its impact is considered significant.
From Pynas, Rembrandt would have further honed his skills in narrative composition, the depiction of historical and biblical subjects, and the use of expressive figures. Pynas's interest in exotic costumes, dramatic lighting, and the psychological portrayal of characters likely resonated with the young Rembrandt. The influence of the Pre-Rembrandtists, including Pynas, is evident in Rembrandt's early works, such as his Balaam and the Ass (1626) or The Stoning of Saint Stephen (1625), which show a similar approach to dense composition, dramatic gesture, and rich detail. While Lastman is often credited with the primary early influence on Rembrandt's history painting, Pynas's contribution provided a crucial reinforcement and perhaps a slightly different nuance to this formative stage of Rembrandt's development. Rembrandt would go on to teach many pupils himself, including notable artists like Gerard Dou, Govert Flinck, Ferdinand Bol, and Carel Fabritius, thus extending an artistic lineage.
Teaching, Guild Activities, and Later Career
Beyond his impact on Rembrandt, Jacob Pynas was also a teacher to Bartholomeus Breenbergh (1598–1657). Breenbergh, who was Pynas's student around 1623-1624, went on to become a prominent member of the Dutch Italianates, known for his luminous landscapes with biblical or mythological figures, clearly absorbing some of Pynas's thematic interests and compositional approaches.
Jacob Pynas was active in the artistic communities of his time. He is recorded as a member of the Guild of Saint Luke in Amsterdam between 1632 and 1639, where he also served as a teacher. The Guilds of Saint Luke were pivotal organizations in the Low Countries, regulating the art trade, providing training, and fostering a sense of community among artists and craftsmen. His membership signifies his established status as a professional painter. Some sources suggest he may have later moved to Delft and been associated with the guild there, and that he died in Delft. His brother Jan had passed away in 1631.
Jacob Pynas continued to paint, with his last documented work, Apollo and Daphne, appearing in 1656. This suggests he remained active as an artist for a considerable period. The details of his later life, however, remain somewhat obscure, and the exact date and circumstances of his death are not definitively known, though it is generally placed after 1650, and possibly after 1656.
Contemporaries and the Broader Artistic Landscape
Jacob Pynas operated within a rich and diverse artistic landscape. In Haarlem, besides Frans Hals, painters like Esaias van de Velde and Willem Buytewech were pioneering new genres. In Amsterdam, where Pynas spent a significant part of his career, the art scene was booming, driven by the city's status as a global commercial hub. Artists like Thomas de Keyser excelled in portraiture, while the demand for various genres, from landscapes by Jan van Goyen to still lifes by Pieter Claesz, was immense.
The Italianate influence, so central to Pynas's work, was a broader phenomenon, with artists like Cornelis van Poelenburch (a contemporary of Breenbergh) also bringing back styles and themes from Italy. Later in the century, artists like Johannes Vermeer in Delft would explore light and domestic scenes with unparalleled mastery, while landscape painters such as Jacob van Ruisdael and Paulus Potter captured the Dutch countryside. The context of these varied artistic endeavors underscores the specific path chosen by Pynas, focusing on narrative history painting at a time when other genres were also flourishing. His work can also be seen in dialogue with international contemporaries like Nicolas Poussin and Claude Lorrain, who were forging classical history and landscape painting in Rome.
Historical Standing and Scholarly Reassessment
For many years, Jacob Symonsz. Pynas, like many of his Pre-Rembrandtist colleagues, was somewhat overshadowed by the colossal figure of Rembrandt. His significance was often framed primarily in terms of his influence on the greater master. However, modern art historical scholarship has increasingly sought to re-evaluate these artists on their own merits, recognizing their individual contributions and the collective importance of the Pre-Rembrandtist movement in shaping Dutch art.
The confusion between the works of Jacob and Jan Pynas has also presented challenges for scholars, making definitive attributions and a clear understanding of each brother's individual development complex. Nevertheless, dedicated research has helped to clarify their respective oeuvres and highlight Jacob's unique stylistic traits – his particular approach to composition, his color sense, and his narrative interpretations. His paintings are now found in museums and collections worldwide, valued for their intrinsic artistic quality and their historical importance.
Conclusion: An Enduring Legacy
Jacob Symonsz. Pynas stands as a testament to the interconnectedness of artistic development. While his name may not be as universally recognized as that of Rembrandt or Hals, his role within the Dutch Golden Age was undeniably important. As a skilled practitioner of history painting, he absorbed and transmitted key Italianate influences, particularly those emanating from Adam Elsheimer. Alongside his brother Jan and other Pre-Rembrandtists, he helped forge a distinctive Dutch approach to narrative art, characterized by dramatic intensity and psychological insight.
His brief tutelage of Rembrandt van Rijn, though lasting only a few months, was a critical moment, contributing to the formation of one of the world's most revered artists. Beyond this, Pynas was an accomplished artist in his own right, producing a body of work that reflects the dynamism and intellectual curiosity of his era. His paintings continue to engage viewers with their vivid storytelling and artistic skill, securing his place as a significant figure in the rich tapestry of 17th-century Dutch art. His legacy is not merely as a precursor, but as an active and creative participant in one of art history's most fertile periods.
