Jan Asselijn stands as a significant figure in the rich tapestry of Dutch Golden Age painting. Active during the mid-17th century, a period of extraordinary artistic flourishing in the Netherlands, Asselijn distinguished himself primarily as a painter of landscapes and animals. He became one of the most prominent proponents of the Italianate style, bringing the sun-drenched vistas and classical ruins of Italy into the Dutch artistic vocabulary. His work bridges the gap between the detailed realism often associated with Dutch art and the idealized, luminous landscapes inspired by the Roman Campagna, leaving a lasting legacy that influenced generations of artists.
Born around 1610 in Dieppe, a coastal town in Normandy, France, Jan Asselijn came from a Huguenot family. His father, Jean Asselin, was a French Huguenot from Dieppe, while his mother, Catrijne Jansdr. van den Schoor, was from Antwerp. The religious and political turmoil of the era likely played a role in the family's eventual relocation. Seeking refuge or opportunity, the family moved to Amsterdam, the bustling economic and cultural heart of the Dutch Republic, by 1621. It was here that the young Asselijn would begin his artistic journey.
Early Training and Influences
Asselijn's formal artistic education began under the tutelage of Esaias van de Velde (c. 1587–1630) in Amsterdam. Van de Velde was himself an important innovator in Dutch landscape painting, moving away from the Mannerist traditions towards a more naturalistic depiction of the Dutch countryside. He was known for his genre scenes, cavalry battles, and landscapes characterized by a low horizon line and atmospheric sensitivity. Studying with such a master provided Asselijn with a solid grounding in the fundamentals of painting, particularly in capturing the nuances of landscape and integrating figures effectively.
While Esaias van de Velde's influence provided a foundation in Dutch realism, Asselijn's artistic path would soon diverge towards a different aesthetic. Amsterdam, as a major international hub, exposed artists to various influences. It is likely that even before travelling, Asselijn encountered works or prints by artists who had experienced Italy, planting the seeds for his later stylistic development. His early works, though less documented, likely reflected the prevailing Dutch tastes before his transformative journey south.
The Italian Sojourn: Rome and the Bentvueghels
Like many Northern European artists of his time, Asselijn felt the powerful allure of Italy. The classical ruins, the picturesque countryside bathed in a unique golden light, and the legacy of Renaissance and contemporary Italian art drew artists seeking inspiration and career advancement. Sometime around 1635, Asselijn embarked on his own journey, travelling through France before arriving in Rome, the ultimate destination for aspiring history and landscape painters.
In Rome, Asselijn immersed himself in the vibrant artistic community. He became associated with the Bentvueghels (Dutch for "Birds of a Feather"), an informal society of mostly Dutch and Flemish artists working in Rome. Known for their bohemian lifestyle and initiation rituals, the Bentvueghels provided a network of support and camaraderie for expatriate artists. Within this group, artists often received nicknames; Asselijn, noted for a physical characteristic – possibly deformed fingers or hand – was given the moniker "Krabbetje," meaning "Little Crab."
His time in Rome, lasting until about 1644, was artistically formative. He absorbed the atmosphere of the city and its surroundings, sketching ancient ruins, observing the daily life of the local populace, and studying the quality of Mediterranean light. This period marked a decisive shift in his style towards the Italianate manner.
Key Influences in Italy: Bamboccio and Claude Lorrain
While in Rome, Asselijn encountered the works and possibly the persons of two influential painters who shaped his Italianate style: Pieter van Laer and Claude Lorrain.
Pieter van Laer (1599–c. 1642), another Dutch member of the Bentvueghels, was nicknamed "Il Bamboccio" (meaning "ugly doll" or "puppet"). He pioneered a style of genre painting focused on the everyday lives of the lower classes in Rome – peasants, street vendors, artisans – set against recognizable Roman backdrops. These paintings, known as Bambocciate, were highly popular. Asselijn adopted elements of this style, often incorporating small, lively figures and animals into his landscapes, grounding the scenes in observable reality, albeit an Italian one.
Perhaps even more significant was the influence of the French painter Claude Lorrain (1600–1682), who spent most of his career in Rome. Claude was the master of the idealized classical landscape. His paintings depicted pastoral scenes, often featuring mythological or biblical subjects, set within expansive, atmospheric landscapes bathed in a soft, golden light, particularly at sunrise or sunset. Asselijn clearly studied Claude's handling of light and atmosphere, adopting the warm palette and the technique of using light to create depth and evoke a serene, often nostalgic mood. Asselijn became one of the first Dutch artists to successfully integrate Claude's luminous effects into his own work.
The Development of the Dutch Italianate Style
Asselijn, along with contemporaries like Jan Both (c. 1610/18–1652) and Herman van Swanevelt (c. 1603–1655), became leading figures in the second generation of Dutch Italianate painters. This style was characterized by its depiction of Italian or imaginary Mediterranean landscapes, often featuring classical ruins, rolling hills, picturesque peasants and shepherds with their flocks, and, crucially, the warm, golden light associated with Italy.
This represented a distinct departure from the typical Dutch landscape tradition exemplified by artists like Jan van Goyen (1596–1656) or Jacob van Ruisdael (c. 1628–1682), which focused on the flat, often grey-skied topography of the Netherlands with remarkable naturalism. The Italianate style offered Dutch patrons, many enriched by trade and seeking sophisticated art, an escape to an idealized, sunnier world, imbued with classical associations. Asselijn's ability to blend Italian light and scenery with Dutch attention to detail made his work particularly appealing.
His compositions often feature strong diagonal elements leading the viewer's eye into the distance, framed by trees or architectural elements. The staffage – the small figures and animals – is carefully integrated, adding life and scale to the scene without dominating the landscape itself. His skill in rendering animals, honed perhaps during his early training, remained a notable feature throughout his career.
Return to the Netherlands and Later Career
Around 1644-1645, Asselijn left Rome and travelled back north, possibly spending time in Lyon, France. In Lyon, he married Antonetta de Houtten (or Houwaart) around 1645. His wife was likely related to the family of the prominent Amsterdam merchant Nicolas de Helt Stockade, whose daughters Asselijn was said to have married (perhaps sequentially, or sources are confused). This connection may have facilitated his return and establishment in Amsterdam.
By 1647, Asselijn was documented back in Amsterdam, where he remained for the rest of his relatively short life. He continued to paint Italianate landscapes, drawing on the sketches and memories from his time abroad. His style matured, retaining the warmth and light of Italy but perhaps incorporating a greater solidity and clarity sometimes associated with Dutch painting. He also painted scenes closer to home, including depictions of historical events.
During his Amsterdam years, Asselijn likely interacted with the city's vibrant art scene. While direct collaboration records are scarce, he was certainly aware of the work of other major figures. There is evidence of interaction with Rembrandt van Rijn (1606–1669). Rembrandt etched a portrait of Asselijn around 1647, depicting him standing, rather stout, before an easel in some states of the print. This suggests a degree of professional acquaintance or respect between the two masters, despite their vastly different artistic preoccupations.
Masterworks and Themes
Jan Asselijn produced a significant body of work, including paintings and etchings. Several paintings stand out as particularly representative of his skill and concerns.
The Threatened Swan (c. 1650, Rijksmuseum, Amsterdam)
This is arguably Asselijn's most famous painting. It depicts a mute swan aggressively defending its nest against a dog encroaching from the lower left. The swan's powerful pose, arched neck, and spread wings convey intense protective fury. The painting is celebrated for its dramatic composition, the masterful rendering of the swan's feathers, and the dynamic portrayal of animal behaviour.
While likely conceived as a study of animal life and maternal defence, the painting acquired political significance later. Inscriptions were added after Asselijn's death, identifying the swan with Johan de Witt, the Grand Pensionary of Holland, defending the country ("Holland") against its enemies ("de viand van de staat" - the enemy of the state, possibly referring to England or William III of Orange). Though anachronistic to Asselijn's intent, this interpretation cemented the painting's status as an icon of Dutch national resistance and patriotism. It was one of the first purchases made by the Nationale Kunstgalerij (the precursor to the Rijksmuseum) in 1800.
The Breach of the Saint Anthony's Dike near Amsterdam (1651, Rijksmuseum, Amsterdam)
This painting demonstrates Asselijn's ability to tackle contemporary historical events with dramatic flair. It depicts the catastrophic flood that occurred on the night of March 4-5, 1651, when the Sint Anthonisdijk, just east of Amsterdam, broke during a storm surge. Asselijn, living in Amsterdam at the time, may have witnessed the event or its aftermath.
The painting captures the chaos and power of the floodwaters rushing through the breached dike under a stormy, moonlit sky. Figures are shown scrambling for safety, highlighting the human drama amidst the natural disaster. Asselijn uses strong contrasts of light and shadow (chiaroscuro) to heighten the tension and drama, showcasing his skill in rendering turbulent water and atmospheric effects. It serves as a powerful reminder of the Netherlands' perpetual struggle with water.
Italianate Landscapes
Beyond these famous works, Asselijn created numerous landscapes that epitomize the Italianate style. Works like Italian Landscape with Roman Ruins (Neue Pinakothek, Munich) or The Tiber River with the Ponte Molle at Sunset (National Gallery of Art, Washington D.C.) showcase his mastery of depicting crumbling classical architecture, stone bridges, tranquil rivers, and pastoral figures under a warm, hazy Italian sky. These paintings transport the viewer to an idealized Mediterranean world, full of picturesque charm and classical resonance. His skill in depicting cattle and other livestock within these scenes was particularly admired, linking him to other Dutch animal specialists like Paulus Potter (1625–1654), though Asselijn's settings were typically Italianate.
Asselijn as an Etcher
In addition to his paintings, Jan Asselijn was a skilled and prolific etcher. He produced several series of prints, primarily depicting landscapes, animals, and cavalry battles. Etching allowed for wider dissemination of his compositions and style. His prints often display a lively, fluid line and a keen observation of detail, particularly in the rendering of animals. These etchings were popular and contributed significantly to his reputation and influence, reaching artists and collectors who might not have seen his paintings. His graphic work further solidifies his position within the broader context of Dutch Golden Age printmaking, alongside masters like Rembrandt and Anthonie Waterloo (c. 1609–1690).
Contemporaries and Artistic Circle
Asselijn's career unfolded within a rich network of artistic relationships. His teacher, Esaias van de Velde, connected him to the earlier generation of Dutch landscape innovators. His travels brought him into contact with the Bentvueghels in Rome, including Pieter van Laer and Herman van Swanevelt.
He is most closely associated with the fellow pioneers of the Dutch Italianate style, particularly Jan Both. Both also studied in Rome, was influenced by Claude Lorrain, and specialized in similar sun-drenched landscapes, often collaborating with figure painters like Cornelis van Poelenburch (c. 1594–1667) or Nicolaes Knüpfer (c. 1609–1655) for the staffage in his earlier works. Asselijn, Both, and later Italianates like Nicolaes Berchem (1620–1683), Karel Dujardin (1626–1678), and Adam Pynacker (1622–1673) formed the core of this influential movement within Dutch art. Jan Baptist Weenix (1621–c. 1660), another contemporary who travelled to Italy, also painted Italianate scenes, often favouring harbour views and more elaborate compositions. Asselijn's interaction with Rembrandt, evidenced by the portrait etching, places him within the orbit of the greatest Dutch master, even if their styles differed significantly.
Legacy and Influence
Jan Asselijn died relatively young, in Amsterdam, in October 1652. Despite a career spanning roughly two decades, his impact was considerable. He was instrumental in popularizing the Italianate landscape style in the Netherlands, offering a brighter, more idealized alternative to the prevailing domestic landscape tradition. His masterful handling of light, inspired by Claude Lorrain, and his ability to integrate picturesque figures and animals into harmonious compositions set a standard for subsequent generations of Dutch Italianate painters.
His works were collected during his lifetime and remained highly sought after. His paintings, particularly The Threatened Swan, continue to be highlights of major museum collections, primarily the Rijksmuseum in Amsterdam, but also found in galleries worldwide. His etchings also contributed to his lasting influence, spreading his compositional ideas and stylistic approach.
Jan Asselijn remains a key figure for understanding the diversity and international connections of Dutch Golden Age art. He successfully synthesized Italian influences with his Dutch training, creating a body of work celebrated for its atmospheric beauty, technical skill, and enduring appeal. His luminous landscapes continue to transport viewers to an idealized Italy, filtered through the perceptive eye of a Dutch master. His nickname "Krabbetje" might speak to a physical peculiarity, but his artistic legacy is one of strength, light, and enduring beauty.
