Jan Dirksz. Both stands as a pivotal figure in the rich tapestry of Dutch Golden Age painting. Born in Utrecht sometime between 1615 and 1618, and passing away in his hometown on August 9, 1652, Both became one of the most influential proponents of the Dutch Italianate style of landscape painting. His relatively short but immensely productive career left an indelible mark, shaping the way Dutch artists, and indeed European audiences, perceived the light, atmosphere, and romantic allure of Italy. As a painter, printmaker, and etcher, Both masterfully translated the sun-drenched vistas of the Roman Campagna into works that resonated deeply with the sensibilities of his time and continue to captivate viewers today.
His significance lies not only in his technical skill but also in his role as a bridge between the Northern European landscape tradition and the idealized, classical landscapes inspired by Italy. He, along with a cohort of contemporaries who made the journey south, brought back a vision of Italy filtered through a Dutch lens – a vision characterized by warm, golden light, picturesque compositions, and often populated by peasants, travellers, and animals that added a touch of genre realism to the otherwise Arcadian scenes. Understanding Jan Both is key to understanding the international currents that flowed through Dutch art in the 17th century.
Early Life and Artistic Formation in Utrecht
Jan Both was born into an artistic environment in Utrecht, a city with a vibrant and distinct artistic identity within the Dutch Republic. His father, Dirck Joriaensz. Both, was a glass painter (glas-schrijver), sometimes also described as a glazier or mirror-maker. This craft background likely provided Jan and his elder brother, Andries Both (also destined to become a painter), with their initial exposure to artistic techniques and materials. Utrecht at this time was notable for its connection to Italian art, particularly through the influence of Caravaggio, brought back by painters like Gerard van Honthorst, Hendrick ter Brugghen, and Dirck van Baburen – the Utrecht Caravaggisti. This existing link with Italy may have fostered an early interest in the southern land.
Following initial instruction, likely from his father, Jan Both, along with Andries, entered the large and successful workshop of Abraham Bloemaert. Bloemaert was a highly respected and versatile artist, proficient in history painting, genre scenes, and landscape. His eclectic style and role as a teacher to numerous successful artists made his studio an important training ground. Studying under Bloemaert provided Both with a solid foundation in drawing and painting techniques. Some sources also suggest a possible, though less certain, period of study with Gerard van Honthorst, whose mastery of light, albeit in a different context (tenebrism), might have resonated with the young artist.
The artistic milieu of Utrecht, with its established painters and connections to Italy, combined with the comprehensive training under Bloemaert, equipped Jan Both with the skills and perhaps the ambition to eventually seek inspiration beyond the borders of the Dutch Republic. His early works, before his Italian journey, are less known but likely reflected the styles prevalent in Utrecht at the time.
The Transformative Journey to Italy
For many Northern European artists in the 17th century, a journey to Italy, particularly Rome, was almost a rite of passage. Italy offered the allure of classical antiquity, the masterpieces of the Renaissance, and, crucially for landscape painters, a different quality of light and scenery than found in the Netherlands. Jan Both, accompanied by his brother Andries, embarked on this formative journey, likely travelling through France before arriving in Rome around 1638.
Rome was a bustling international hub for artists. The Both brothers immersed themselves in this environment. Andries gravitated towards the Bamboccianti, painters who followed the style of Pieter van Laer (nicknamed 'Il Bamboccio'). These artists specialized in small, lively genre scenes depicting the everyday life of Roman peasants, street vendors, and artisans, often set within recognizable Roman locations. Andries became known for these types of low-life scenes, executed with a robust realism.
Jan, while undoubtedly aware of the Bamboccianti and perhaps even collaborating with his brother or others in the circle like Jan Miel, pursued a different path. He was profoundly drawn to the landscape itself and found inspiration in the work of another foreign artist who had made Rome his home: the French painter Claude Lorrain. Claude was already establishing his reputation for creating idealized, atmospheric landscapes bathed in a soft, golden light, often featuring classical ruins and mythological or biblical figures. This encounter would prove decisive for Jan Both's artistic direction.
The years spent in Italy, likely until around 1641, were crucial. Both sketched extensively outdoors, absorbing the topography of the Roman Campagna, the Alban Hills, and sites like Tivoli. He studied the effects of the Mediterranean sun at different times of day, learning to capture the warm haze and long shadows that characterized the Italian landscape. This direct observation, combined with the influence of Claude Lorrain, forged the distinctive Italianate style for which he would become famous.
The Essence of Both's Italianate Style
Jan Both's mature style is defined by its masterful depiction of idealized Italian landscapes, suffused with a warm, golden, and often hazy sunlight, typically suggestive of early morning or late afternoon. This focus on light differentiates his work significantly from the more tonal and atmospheric landscapes prevalent in Haarlem school painting by artists like Jan van Goyen or Salomon van Ruysdael, which often depicted the cooler, silvery light of the Netherlands. Both sought to capture the feeling of Italy, an Arcadian vision of harmony between nature and human presence.
His compositions are carefully constructed, often employing diagonal recessions, framing elements like large, feathery trees in the foreground, and leading the viewer's eye into a luminous distance. Unlike the often meticulously detailed foliage found in purely Dutch landscapes, Both's trees and plants have a softer, more generalized quality, contributing to the overall poetic mood. The sky plays a crucial role, often occupying a large portion of the canvas, filled with soft clouds catching the golden light.
While influenced by Claude Lorrain, Both's landscapes possess distinct characteristics. His light can feel slightly clearer, his colours sometimes cooler or more varied than Claude's pervasive golden hue. Furthermore, the staffage – the small human and animal figures populating the landscapes – often has a more prominent and distinctly Dutch flavour. While Claude's figures are often mythological or biblical, lending a classical air, Both's figures are typically peasants, travellers with mules, herdsmen, or occasionally artists sketching, rendered with a degree of realism that connects back to the Dutch genre tradition and perhaps the influence of the Bamboccianti circle, including painters like Michelangelo Cerquozzi. These figures are integral to the scene, enhancing the sense of place and scale, but rarely dominate the majestic landscape itself.
His paintings evoke a sense of tranquility and timelessness, a romanticized vision of rural Italy that appealed greatly to patrons back in the Netherlands and later across Europe. He successfully synthesized the grandeur of the Italian landscape with a Dutch sensitivity to observation and light effects.
Artistic Collaboration and Exchange
Collaboration between artists specializing in different areas was common in the 17th century. Jan Both participated in several such exchanges, particularly during his time in Rome. The most significant, though perhaps more stylistic than direct co-painting on single canvases, was his relationship with Claude Lorrain. While direct collaboration is debated by scholars, the profound impact of Claude's atmospheric perspective and handling of light on Both's work is undeniable. They moved in similar artistic circles and shared a deep appreciation for the Roman Campagna.
A more documented form of collaboration involved the Bamboccianti. Early sources, like Joachim von Sandrart, suggested a strict division of labour between Jan and his brother Andries, with Jan painting the landscapes and Andries adding the figures. While modern scholarship questions how consistently this occurred, acknowledging Jan's own skill in figure painting, it's clear they worked closely. Jan Both is also known to have collaborated with Pieter van Laer himself, the leading figure of the Bamboccianti. In such arrangements, Both would typically provide the landscape setting, while Van Laer or another figure specialist would paint the staffage, merging the idealized landscape with lively genre elements.
Upon his return journey or shortly after returning to Utrecht, Both became involved, albeit perhaps indirectly or through supplying designs, in a major international commission: the decoration of the Buen Retiro Palace in Madrid for King Philip IV of Spain. This project involved several prominent landscape painters, including Claude Lorrain, Nicolas Poussin, Herman van Swanevelt (another Dutch Italianate who had spent time in Rome), and Gaspard Dughet. Both's contribution likely consisted of large-scale landscapes in his characteristic Italianate style, further cementing his international reputation. These collaborations highlight Both's integration into the broader European artistic network of his time.
Tragedy and Return to Utrecht
The Both brothers' Italian sojourn ended tragically. While travelling back towards the Netherlands, they stopped in Venice. There, in 1641 (or possibly early 1642), Andries Both drowned in a canal after returning from a festival. Devastated by the loss of his brother and collaborator, Jan Both continued his journey northward alone, returning to his native Utrecht.
He seems to have settled back into Utrecht quickly, becoming a respected member of the city's artistic community. He likely joined the Guild of Saint Luke, the professional organization for painters, although records can be sparse. Despite being physically removed from Italy, the experience remained the bedrock of his art. He continued to paint Italianate landscapes for the remainder of his career, working from the numerous sketches he must have brought back, his memories, and his established artistic formula.
The demand for these sunny, idealized Italian scenes was strong in the relatively prosperous Netherlands. Patrons, many of whom might never travel south themselves, eagerly acquired these works that offered an escape to a warmer, seemingly more idyllic world. Both's Utrecht studio became a centre for the production of these popular landscapes.
Mature Work and Masterpieces
Back in Utrecht, Jan Both refined his Italianate style, producing some of his most accomplished works. He maintained the characteristic warm light, feathery trees, and deep vistas, but perhaps with an even greater sense of compositional control and atmospheric subtlety developed through years of practice. His paintings from this period solidified his reputation as the leading Dutch master of the Italianate landscape.
Among his celebrated works is Italian Landscape with Draughtsman (Rijksmuseum, Amsterdam). This painting exemplifies his style: a winding path leads the eye past travellers and animals through a sunlit landscape framed by large trees, towards distant hazy mountains. The inclusion of an artist sketching underscores the theme of artistic engagement with the Italian scenery.
Another key work is Southern Landscape with Travellers or similar titles found in various collections (e.g., National Gallery, London). These often depict muleteers, peasants resting, or riders traversing rocky paths under a warm sky. The interplay of light and shadow across the terrain, the detailed yet soft rendering of foliage, and the integration of figures into the expansive setting are hallmarks of his Utrecht period.
His Landscape with the Judgment of Paris (National Gallery, London), painted with figures possibly by fellow Utrecht painter Cornelis van Poelenburch, shows his ability to incorporate mythological themes within his landscape settings, aligning him more closely with the classical tradition of Claude Lorrain, though such history paintings are less common in his oeuvre than pure landscapes or those with genre staffage.
The Ponte Molle (Rijksmuseum, Amsterdam), depicting a bridge over the Tiber north of Rome, is another iconic example, showcasing his ability to blend topographical elements with an idealized atmosphere. These works, characterized by their luminosity, compositional harmony, and evocative mood, represent the pinnacle of his achievement.
Jan Both as an Etcher
Beyond his significant output as a painter, Jan Both was also a highly skilled and influential etcher. He produced several series of prints, primarily depicting the same Italianate landscape subjects found in his paintings. These etchings played a crucial role in disseminating his style and vision of Italy to a wider audience, including other artists who might not have seen his paintings directly.
His etchings are admired for their technical proficiency and atmospheric effects, achieved through delicate linework and careful biting of the copper plate. He masterfully translated the effects of sunlight and shadow into the black and white medium. Notable series include landscapes of the Roman Campagna, often featuring travellers, ruins, and his characteristic feathery trees. The Series of six oblong Italian landscapes and the Series of four upright Italian landscapes are among his best-known printed works.
These prints were popular and influential, contributing significantly to the spread of the Italianate taste in the Netherlands and abroad. They served as models for other artists and provided collectors with more affordable access to Both's captivating Italian scenes. His work as an etcher complements his paintings, demonstrating his mastery across different media.
Teaching and Lasting Influence
Jan Both's success and distinctive style attracted followers and students. Although documentation is not exhaustive, several pupils are recorded as having trained in his Utrecht studio. These include Barend Bispinck, Willem de Heus, and Hendrick Verschuring. These artists absorbed Both's approach to landscape, particularly his handling of light and composition, and helped perpetuate the Italianate style.
However, Both's influence extended far beyond his direct pupils. He became a foundational figure for the second generation of Dutch Italianate painters. Artists like Nicolaes Berchem and Karel Dujardin, who also travelled to Italy, clearly show Both's impact in their own luminous landscapes, although they often incorporated more prominent pastoral or genre elements. Others, such as Adam Pynacker and Jan Asselijn, developed their own variations of the Italianate style, but the groundwork laid by Both, particularly in capturing the southern light, remained a key reference point. Frederik de Moucheron also followed in this tradition.
Even artists who did not travel to Italy felt his influence through his paintings and etchings available in the Netherlands. His work set a standard for idealized landscape painting that resonated for decades. His popularity continued well into the 18th century, particularly in England, where collectors prized his sunny vistas, influencing early English landscape painters.
Legacy and Collections
Jan Both died relatively young, in his mid-thirties, in 1652. He was buried in the Buurkerk in Utrecht. Despite his short career, his impact was profound. He was instrumental in establishing the Italianate landscape as a major genre within Dutch art, offering a popular alternative to the native Dutch landscape tradition. His ability to synthesize Italian light and scenery with Dutch observational skills created a style that was both exotic and accessible.
His critical fortune has varied. Highly esteemed in the 17th and 18th centuries, the Italianate painters fell somewhat out of favour during the 19th century's emphasis on national realism. However, 20th and 21st-century art history has reassessed their importance, recognizing Both's technical brilliance and his crucial role in the international artistic exchanges of the Dutch Golden Age.
Today, Jan Both's paintings and etchings are held in major museums worldwide. Significant collections can be found in the Rijksmuseum in Amsterdam, the National Gallery in London, the Mauritshuis in The Hague, the Louvre in Paris, the Hermitage Museum in St. Petersburg, the Wallace Collection in London, and numerous other institutions in Europe and North America. His works continue to be admired for their beauty, tranquility, and masterful evocation of a sunlit, idealized Italy.
Conclusion
Jan Dirksz. Both remains a cornerstone of Dutch Golden Age landscape painting. Emerging from the artistic hub of Utrecht, his journey to Italy transformed his art, leading him to pioneer a captivating style that brought the warmth and light of the Mediterranean south to northern audiences. Through his paintings and etchings, characterized by golden light, picturesque compositions, feathery foliage, and integrated staffage, he created an enduring vision of an Arcadian Italy. His influence on contemporaries like Claude Lorrain, his collaborations with artists like Pieter van Laer, and his role in shaping the next generation of Italianate painters like Berchem and Dujardin underscore his significance. Though his life was cut short, Jan Both's luminous landscapes secured his place as a master of the Dutch Italianate tradition, leaving a legacy that continues to enchant viewers with its timeless beauty.
