Jacob van der Kerckhoven, known in Italy as Giacomo da Castello, stands as a fascinating example of artistic migration and adaptation in 17th-century Europe. A Flemish painter by birth and training, he carved out a significant career in Venice, a city with its own formidable artistic traditions. Specializing in still life, particularly depictions of game, birds, fish, and fruit, Van der Kerckhoven brought a Northern European sensibility to the Venetian art scene, achieving considerable success and leaving a distinct mark on the genre.
From Antwerp's Workshops to Venetian Light: Early Life and Artistic Formation
Born in Antwerp around 1636 or 1637, Jacob van der Kerckhoven emerged from one of Europe's most vibrant artistic centers. Antwerp, in the Spanish Netherlands (Flanders), was renowned for its specialized painters, particularly in genres like still life, landscape, and scenes of everyday life. The city's guilds maintained high standards, and apprenticeships were rigorous. It was in this environment that the young Van der Kerckhoven began his artistic journey.
His most significant formative influence was his apprenticeship under Jan Fyt (1611-1661), a leading master of animal and hunting still lifes in Antwerp. Fyt himself had been a pupil of the celebrated Frans Snyders (1579-1657), who, along with artists like Jan Brueghel the Elder (1568-1625), had elevated still life and animal painting to unprecedented levels of sophistication and popularity. Fyt inherited Snyders' dynamism and rich texturing but often brought a slightly more intimate and refined sensibility to his compositions.
Van der Kerckhoven's training under Fyt, likely commencing around 1649, would have immersed him in the techniques and thematic concerns of this strong Flemish tradition. He would have learned to render the varied textures of fur and feather with meticulous detail, to compose elaborate arrangements of game, and to capture the vitality of animals, both living and dead. The Antwerp school was known for its robust, often opulent, depictions of nature's bounty, frequently carrying symbolic undertones related to wealth, transience, or the hunt itself. Other notable contemporaries in Antwerp specializing in similar fields included Pieter Boel (1622-1674) and David de Coninck (c. 1644-c. 1701), who were also pupils of Jan Fyt, creating a vibrant circle of artists exploring these themes.
The Journey South: Establishing a Career in Venice
Around 1663, Jacob van der Kerckhoven made a pivotal decision to move to Italy, settling in Venice. The reasons for such a move were common among Northern European artists: the allure of Italian art, the potential for patronage, and perhaps a desire for new artistic challenges and environments. Venice, the "Serenissima," was a major cultural and economic hub, though its artistic dominance was perhaps past its High Renaissance peak. Nevertheless, it possessed a rich artistic heritage and a continuing demand for art.
Upon arriving in Venice, Van der Kerckhoven adapted his name to the Italianate "Giacomo da Castello." The "Castello" likely referred to the Venetian sestiere (district) of Castello, where he may have initially lived or worked, a common practice for foreign artists to be identified by their place of residence or origin. He is also, though less commonly, referred to as "Giacomo del Certo," which might be a corruption or a nickname, perhaps alluding to the "certainty" or skill of his brushwork.
He quickly integrated into the local artistic community. By 1665, he was recorded as a member of the Venetian painters' guild (the "Fraglia dei Pittori"), indicating his official recognition and establishment as a professional artist in the city. This membership was crucial for legally practicing his art and securing commissions. He remained active in Venice for the rest of his long life, paying taxes as a painter and continuing to produce works until his death in 1712.
Artistic Style: Flemish Roots and Venetian Adaptation
Van der Kerckhoven's artistic style is a compelling blend of his Flemish training and his experiences in Italy. His grounding in the Antwerp tradition, particularly the influence of Jan Fyt, is evident throughout his career, especially in his meticulous attention to detail, his skillful rendering of textures, and his dynamic compositions.
The Enduring Influence of Jan Fyt:
Early works by Van der Kerckhoven clearly demonstrate his debt to Fyt. The careful depiction of plumage, the arrangement of dead birds or small game, and a certain dramatic flair in the interplay of forms echo his master's style. He shared Fyt's interest in the tactile qualities of his subjects, making feathers appear soft, fur seem bristly, and the scales of fish glisten.
Development in Venice:
While his Flemish roots remained strong, Van der Kerckhoven's style evolved during his decades in Venice. His palette sometimes brightened, perhaps influenced by the luminous Venetian light and the city's tradition of rich color, exemplified by masters from Titian (c. 1488/1490-1576) to later Baroque painters like Sebastiano Ricci (1659-1734) or Luca Giordano (1634-1705), who also worked in Venice. His compositions, while often still elaborate, sometimes incorporated a broader sense of space or a more decorative arrangement, catering to Italian tastes.
He continued to specialize in still lifes featuring game, poultry, fish, and fruit. Hunting scenes, or "cacce," were a popular subgenre, depicting the spoils of the hunt, often with dogs or hunting paraphernalia. These works appealed to an aristocratic clientele and adorned the dining rooms and halls of wealthy patrons. His depictions of fish and seafood were particularly noteworthy, showcasing his ability to capture their slick, iridescent surfaces.
Unlike some of his Dutch contemporaries, such as Willem Kalf (1619-1693) with his opulent pronkstilleven (ostentatious still lifes) or Abraham van Beyeren (c. 1620-1690) with his lavish banquet pieces, Van der Kerckhoven's work, while detailed and rich, often maintained a more direct focus on the natural subjects themselves, characteristic of the Flemish tradition. However, the decorative impulse seen in some Venetian art may have encouraged more expansive and visually sumptuous arrangements in his later works.
Thematic Concerns and Signature Subjects
Jacob van der Kerckhoven's oeuvre is characterized by a consistent focus on the natural world, particularly animals. His paintings are vibrant catalogues of fauna, rendered with an almost scientific precision yet imbued with artistic vitality.
Birds of All Feathers:
A significant portion of his work features birds. These range from domestic fowl like chickens and ducks to game birds such as pheasants, partridges, and waterfowl. He excelled at capturing the unique characteristics of each species, from the proud stance of a rooster to the delicate plumage of a songbird. These were often depicted in kitchen scenes, as trophies of the hunt, or occasionally in more allegorical contexts.
The Bounty of the Sea:
Living in Venice, a city intrinsically linked to the sea, it is not surprising that Van der Kerckhoven also painted numerous still lifes of fish and other marine creatures. He depicted a wide array of aquatic life – from humble market fish to more exotic specimens – often arranged on slabs or in baskets, their scales shimmering with reflected light. These works showcase his mastery of rendering wet, slippery textures. His approach can be compared to other specialists in fish still lifes, like the Neapolitan painter Giuseppe Recco (1634-1695), though Kerckhoven retained his distinct Flemish touch.
Game and the Hunt:
Hunting still lifes were a staple of his output. These paintings typically featured dead hares, rabbits, deer, and various game birds, often accompanied by hunting dogs, rifles, or powder horns. Such scenes celebrated the aristocratic pursuit of hunting and the abundance of nature. They allowed Van der Kerckhoven to display his skill in rendering fur, feathers, and the dramatic poses of the animals.
Fruit and Flora:
While animals were his primary focus, Van der Kerckhoven also incorporated fruit and occasionally flowers into his compositions, adding color, variety, and symbolic meaning. Grapes, peaches, melons, and other fruits often complemented his arrangements of game or fish, contributing to the overall sense of abundance and natural richness. This aspect of his work connects him to the broader tradition of fruit and flower painting, which was highly developed in both the Netherlands by artists like Jan Davidsz. de Heem (1606-1684) and in Italy.
Representative Works: A Closer Look
Several works can be highlighted to illustrate Jacob van der Kerckhoven's style and thematic preoccupations.
"Dead Snake and Birds" (Serpente morto e uccelli) (1661):
This relatively early work, dated 1661 (thus likely painted before or just as he was transitioning to Venice if the 1663 move date is accurate, or during an earlier Italian sojourn if the c.1637 move date is considered for initial contact), clearly shows the influence of Jan Fyt. The dramatic subject matter – a snake coiled amongst dead birds – is rendered with Fyt's characteristic attention to texture and dynamic composition. The interplay of life and death, a common theme in still life, is powerfully conveyed.
"Battle of Birds and Beasts" (Jagdstillleben / Caccia agli uccelli e alle bestie):
This title, or variations of it, likely refers to a type of composition popular in Flemish art, often depicting a chaotic mêlée of animals, sometimes with a moralizing or allegorical intent. Frans Snyders was a master of such scenes. Van der Kerckhoven's versions would have showcased his ability to handle complex groupings of figures and to capture the ferocity and energy of the animal kingdom. Such works are considered important examples of Baroque still life, full of movement and drama.
"Still Life with Fish, Oysters, and Game" (Nature Morte):
This descriptive title represents a common type of composition for Van der Kerckhoven. These paintings would typically feature an artful arrangement of various foodstuffs, demonstrating his versatility in rendering different textures – the glistening scales of fish, the rough shells of oysters, the soft fur of a hare, and the smooth plumage of a bird. The careful lighting and rich colors would enhance the realism and appeal of the scene.
"Allegory of Winter":
Allegorical paintings were common in the Baroque period, and still life elements were often used to convey deeper meanings. An "Allegory of Winter" by Van der Kerckhoven would likely feature elements associated with the season – perhaps game animals common in winter hunts, preserved foods, or a somewhat starker, cooler palette. Such a work would demonstrate his ability to imbue his naturalistic depictions with symbolic resonance.
His works are found in various collections, including the Gallerie dell'Accademia in Venice, the Uffizi Gallery in Florence, and museums in Stuttgart (Stoccarda), indicating the esteem in which his paintings were held.
The Status of Still Life in Venice and Kerckhoven's Niche
In 17th-century Venice, the hierarchy of genres still largely favored history painting – religious, mythological, and historical subjects – as practiced by leading Italian artists. Still life, while appreciated, was often considered a lesser genre by local theorists and some patrons, particularly when compared to the grand narrative compositions of artists like Pietro da Cortona (1596/7-1669) in Rome or the Venetian masters of the past.
However, there was a significant market for still life paintings, driven by private collectors, merchants, and the aristocracy who appreciated their decorative qualities, technical skill, and often, their symbolic meanings. Foreign artists, particularly those from the Netherlands and Flanders where still life painting was highly developed and esteemed, often found a ready market for their specialized skills in Italy.
Jacob van der Kerckhoven successfully carved out a niche for himself in this environment. While Venetian-born artists did produce still lifes, the intense specialization and technical virtuosity of painters like Van der Kerckhoven, trained in the Northern tradition, were highly valued. He became one of the most important animal painters active in the Venetian Republic during his time. His ability to combine Flemish precision with a sense of Baroque dynamism, and perhaps a touch of Venetian color, made his work appealing.
He was not alone as a Northern still life specialist in Italy. Artists like Abraham Brueghel (1631-1697), grandson of Jan Brueghel the Elder, had a successful career in Naples and Rome painting lavish fruit and flower still lifes. The presence of such artists enriched the Italian art scene and contributed to a cross-pollination of styles and techniques.
Contemporaries, Collaborators, and Students
While detailed records of Jacob van der Kerckhoven's daily interactions are scarce, we can infer connections and place him within a broader artistic network.
Teacher and Fellow Fyt Pupils:
His primary connection was undoubtedly to his teacher, Jan Fyt. The stylistic similarities are undeniable. He would also have known Fyt's other pupils, such as Pieter Boel and David de Coninck, who pursued similar thematic interests in Antwerp and beyond.
Venetian Artistic Milieu:
In Venice, he would have been aware of the leading figures in other genres. While their styles and subjects differed greatly, painters like Luca Carlevarijs (1663-1730), a pioneer of Venetian veduta (cityscape) painting, or the celebrated pastel portraitist Rosalba Carriera (1673-1757), were his contemporaries. The grand decorative schemes of Sebastiano Ricci or Giovanni Battista Tiepolo (1696-1770, active in Kerckhoven's later years) represented the dominant trends in large-scale Venetian painting. Kerckhoven's work offered a different, more intimate kind of artistic experience.
Other Still Life Specialists:
He would have been aware of other still life painters active in Italy, both native and foreign. The aforementioned Giuseppe Recco in Naples specialized in fish still lifes, while Evaristo Baschenis (1617-1677) in Bergamo was famous for his meticulous still lifes of musical instruments. These artists, though geographically dispersed, contributed to the diverse tapestry of Italian Baroque still life.
Possible Collaborations and Influence:
It's documented that he had connections with Elisabetta Marchioni (active late 17th - early 18th century), another still life painter active in the Veneto region, particularly Rovigo. They, along with others, are credited with helping to popularize and develop the still life genre in the area. Such connections might have involved shared patronage, artistic exchange, or even informal collaborations where specialists might contribute elements to each other's paintings, a practice not uncommon at the time.
Students:
Jacob van der Kerckhoven also took on students, passing on his skills and knowledge. Giovanni Agostino Cassana (c. 1658-1720) is noted as one of his pupils. Cassana, also active in Venice and other parts of Italy, became known for his own still lifes of animals and kitchen scenes, clearly reflecting the influence of his master. This master-pupil relationship ensured the continuation of this particular tradition of still life painting.
An interesting, though somewhat speculative, connection is a mention by the Dutch artist and traveler Willem Schellinks (1627-1678). During a visit to Verona in 1665, Schellinks noted seeing works by a still life painter referred to as "Mr. Sprits Calvinist." Some scholars have tentatively suggested this might refer to Van der Kerckhoven, given his Northern origins (where Calvinism was prevalent, though Kerckhoven's personal beliefs are not definitively known) and his specialization. If true, it would indicate his reputation extended beyond Venice into the Veneto mainland.
Anecdotes and Reputation
Specific, colorful anecdotes about Jacob van der Kerckhoven's personal life are not abundant in historical records, which is common for many artists who were not major history painters or court figures. His "story" is primarily told through his works and the few archival mentions of his professional life.
His reputation, however, is clear: he was a respected and successful specialist. The fact that he was accepted into the Venetian painters' guild, maintained a long and productive career, and had his works collected by discerning patrons speaks to the quality and appeal of his art. The very act of a Flemish painter achieving prominence in a major Italian art center like Venice, in a genre that was not always top-tier in the local hierarchy, is in itself a testament to his skill and adaptability.
His Italianized name, Giacomo da Castello, became his established identity in Italy, and it is under this name that he is often catalogued in Italian collections and art historical literature. This dual identity – Jacob van der Kerckhoven the Fleming, and Giacomo da Castello the Venetian – encapsulates his artistic journey.
Later Years and Lasting Legacy
Jacob van der Kerckhoven remained active into his old age. He was still working in Venice in the early 18th century, a period that saw the city experiencing a late flowering of artistic brilliance, particularly in decorative painting and vedute, ushering in the Rococo era. He passed away in Venice in 1712, having spent nearly half a century in the city.
His legacy lies in his contribution to the still life genre, particularly within the Venetian context. He successfully transplanted the rich Flemish tradition of animal and game painting to Italian soil, adapting it to local tastes while retaining its core strengths. His works are characterized by:
Technical Virtuosity: A meticulous rendering of textures, particularly fur, feathers, and scales.
Dynamic Compositions: Often lively and full, reflecting his Baroque sensibilities.
Keen Observation: A detailed and accurate depiction of a wide variety of animals and natural objects.
Cross-Cultural Fusion: A blend of Northern European realism with an Italianate sense of color and, at times, decorative flair.
While he may not have had the wide-ranging impact of a history painter, his influence can be seen in the work of his students, like Giovanni Agostino Cassana, and in the continued appreciation for detailed and naturalistic still life painting in the Veneto. His paintings remain valuable documents of the genre, offering insights into the tastes and collecting habits of the period, and stand as beautiful examples of an artist who successfully navigated and bridged different artistic cultures.
The modern artist Anne-Mie Van Kerckhoven (born 1951), while working in entirely different media and with contemporary concerns, shares the surname, creating a distant echo. However, Jacob van der Kerckhoven's direct artistic lineage is more firmly rooted in the Baroque tradition of still life.
Conclusion: A Master of Detail in a City of Grandeur
Jacob van der Kerckhoven, or Giacomo da Castello, was more than just a skilled painter of animals and inanimate objects. He was an artist who embodied the cultural exchange that characterized the Baroque era. His journey from Antwerp to Venice, and his subsequent success, highlight the cosmopolitan nature of the European art world. In a city celebrated for its grand vistas, opulent palaces, and dramatic narrative paintings, Van der Kerckhoven offered a different kind of visual pleasure: the intimate, detailed, and richly textured world of still life. His paintings, filled with the bounty of nature and rendered with Flemish precision, found a receptive audience and secured his place as a notable master within his chosen specialization, enriching the diverse artistic landscape of 17th and early 18th-century Venice.
