Jan Frans Soolmaker, a notable figure in 17th-century Dutch and Flemish art, carved a niche for himself as a painter, etcher, and printmaker. Born in the bustling artistic hub of Antwerp in 1635, his life, though relatively short, was marked by a dedication to capturing the idyllic essence of Italianate landscapes, a genre that found considerable favor during the Dutch Golden Age. While precise details of his life remain somewhat debated among scholars, his artistic output clearly demonstrates a painter deeply influenced by his contemporaries, yet possessing a distinct touch that characterized his pastoral scenes. His works, often imbued with a warm, golden light, typically feature shepherds, livestock, and picturesque ruins, transporting viewers to a serene, arcadian world. Soolmaker's career spanned activities in both the Southern Netherlands (Flanders) and the Northern Netherlands, reflecting the fluid artistic exchanges of the period. His legacy, though perhaps not as widely celebrated as some of his peers, is preserved in numerous collections and continues to be a subject of art historical interest. The most credible information suggests his death occurred in 1665 in Amsterdam, a conclusion drawn from the record of his last will and testament.
Early Life and Artistic Beginnings in Antwerp
Jan Frans Soolmaker's journey into the world of art began in Antwerp, a city renowned for its vibrant artistic community and rich painterly traditions. In 1654, he is recorded as a student of Jan de Bruyn van Aelst, a painter active in Antwerp during that period. This apprenticeship would have provided Soolmaker with foundational training in the techniques and conventions of Flemish painting. However, historical records indicate that Soolmaker did not complete his studies with de Bruyn. This departure might suggest a restlessness or a desire to seek out different artistic influences, a common trait among ambitious young artists of the era.
Antwerp, at this time, was still a significant artistic center, though its golden era of the previous century, dominated by figures like Peter Paul Rubens and Anthony van Dyck, was waning. Nevertheless, the city's guilds and workshops continued to foster talent. Soolmaker's initial training here would have exposed him to a high level of craftsmanship and a diverse range of subject matter. The decision to leave his apprenticeship prematurely could have been driven by various factors, including personal artistic vision or the allure of other artistic centers that were gaining prominence, particularly in the Northern Netherlands.
The Pivotal Influence of Nicolaes Berchem
A significant turning point in Soolmaker's artistic development appears to have been his association, whether direct or indirect, with Nicolaes Pieterszoon Berchem. Berchem was one of the leading figures among the Dutch Italianate painters – artists who, having either traveled to Italy or been inspired by those who had, specialized in depicting sun-drenched Italian landscapes. Soolmaker is often described as a follower or imitator of Berchem, and it is believed he may have continued his studies under Berchem, possibly in Haarlem or The Hague, after leaving Antwerp.
Berchem's style was characterized by its picturesque compositions, warm lighting, and skillful rendering of figures and animals within pastoral settings. These elements became hallmarks of Soolmaker's own work. The influence is so pronounced that Soolmaker's paintings are frequently compared to Berchem's, with art historians noting both the similarities in theme and execution, as well as subtle differences. While some sources suggest Soolmaker might have joined the artists' guild in Haarlem, concrete evidence for a formal, extended apprenticeship under Berchem or guild membership remains somewhat elusive, adding to the intriguing gaps in his biography. Regardless of the precise nature of their relationship, Berchem's artistic vision undeniably shaped Soolmaker's path.
Artistic Style: The Italianate Dream
Jan Frans Soolmaker's oeuvre is predominantly characterized by Italianate landscapes. These are not necessarily topographically accurate depictions of Italy but rather idealized visions, often imbued with a nostalgic or arcadian quality. His canvases typically feature rolling hills, ancient ruins, and tranquil bodies of water, all bathed in the soft, golden light that was a signature of the Italianate school. This warm illumination creates a serene and inviting atmosphere, drawing the viewer into a world seemingly untouched by the harsher realities of life.
A key component of Soolmaker's compositions is "staffage" – the inclusion of human figures and animals that animate the landscape and add narrative interest. Shepherds tending their flocks of sheep and goats, peasants driving cattle, and travelers resting by a fountain are common motifs. Soolmaker rendered these figures and, particularly, the animals with considerable care and detail. His ability to depict livestock – cattle, sheep, goats, and sometimes horses or donkeys – with anatomical accuracy and a sense of naturalism contributed significantly to the charm and appeal of his paintings. This focus on pastoral life aligned perfectly with the Italianate aesthetic, which celebrated the rustic and the picturesque.
His compositions often employ classical landscape principles, with carefully arranged foreground, middle ground, and background elements to create a sense of depth and harmony. Trees or architectural elements like ruins might frame the scene, guiding the viewer's eye towards a distant, hazy horizon. The combination of landscape and architectural features, often classical or rustic Italianate buildings, was a common feature of this genre, reflecting a romanticized vision of Italy's past and its enduring natural beauty. Soolmaker's brushwork, while perhaps not always possessing the finesse of Berchem, was competent and effective in conveying texture and form.
Representative Works and Thematic Concerns
Several works are frequently attributed to Jan Frans Soolmaker, showcasing his characteristic style and thematic preferences. Titles such as "Shepherds and Livestock" or "Landscape with Cattle and Shepherds" appear in various collections and auction records, underscoring his focus on pastoral themes. One such painting, "Landscape with Cattle and Shepherds," is housed in the Royal Castle in Warsaw, a testament to the international reach of his work. This piece likely exemplifies his typical approach: a serene landscape, perhaps with a distant view of mountains or a classical ruin, populated by shepherds and their animals, all under a warm, luminous sky.
Another notable work mentioned is "A Man Driving a Cart," dated to the 1660s. This painting might offer a glimpse into more everyday rural activities, still within the Italianate framework. "Peasants Driving Cattle to Market," exhibited in The Hague, further illustrates his interest in genre scenes set within these idealized landscapes. The depiction of peasants and their livestock moving through the countryside would have appealed to contemporary tastes for scenes of rural life.
Other attributed works include "Drovers with their herd at a fountain," suggesting a common resting point for travelers and their animals, a motif often found in Italianate paintings. "A pastoral landscape with cattle, goats, sheep and figures" is another descriptive title that encapsulates his primary subject matter. More specific titles like "Reconciliation of Jacob and Esau" (Brussels Museum), "Cattle Market" (Bamberg Gallery/Kunstmuseum Basel), "Italian Herdsmen with Cattle by a Well" (Dresden Museum), and "Landscape with Figures, Brandenburg" (Liechtenstein Collection, Vienna) indicate a broader range, including biblical scenes and specific locales, though always interpreted through his Italianate lens. The "Brandenburg" piece is interesting as it suggests he may have depicted scenes outside of Italy, or perhaps Italianized other European landscapes.
Travels, Later Career, and Ambiguities
The extent of Jan Frans Soolmaker's travels, particularly to Italy, is a subject of some scholarly debate. While his paintings are deeply imbued with an Italian atmosphere, it is not definitively proven that he undertook the journey south himself. Many Dutch Italianate painters did travel to Italy, but others absorbed the style secondhand through the works of artists like Berchem, Jan Both, or Jan Asselijn. If Soolmaker did travel to Italy, it would likely have been in the late 1650s or early 1660s. One source even suggests a death in Italy in 1656, though this is less widely accepted than the 1665 date.
What is more certain is his activity in the Netherlands. He was active in both the northern and southern regions, indicating a degree of mobility within his home country. His presence in Amsterdam towards the end of his life is evidenced by the fact that he drew up his last will and testament there on December 16, 1665. This legal document is a crucial piece of evidence supporting the year of his death as 1665. It suggests he was likely ill or preparing for a significant undertaking, though the exact circumstances surrounding his death shortly thereafter are not detailed.
An interesting anecdote from this period is his plan, recorded around December 3, 1665, to travel to Lisbon, Portugal, and then onward to the island of Madeira with his brother, Arnoldus Soolmaker. This ambitious voyage, however, was not to be. Arnoldus passed away on December 27, 1665, and it is presumed that Jan Frans himself died around this time, or shortly before, given the date of his will. This planned journey hints at a continuing desire for travel and perhaps new artistic inspiration, tragically cut short.
Contemporaries and the Artistic Milieu of the Dutch Golden Age
Jan Frans Soolmaker worked during the Dutch Golden Age, an era of extraordinary artistic production and innovation. He was part of a vibrant generation of artists specializing in various genres. Within the realm of Italianate landscape painting, his primary point of reference was Nicolaes Pieterszoon Berchem. Other prominent Italianisants whose work Soolmaker would have known, and who helped define the genre, include Jan Both and his brother Andries Both, Jan Asselijn, Karel Dujardin, Adam Pijnacker, and Jan Baptist Weenix. These artists shared a fascination with Italian light and scenery, each bringing their own interpretation to the theme.
Soolmaker's skill in depicting animals and figures (staffage) was a valuable asset. It's noted that he sometimes provided staffage for the works of other painters, a common collaborative practice at the time. One such artist mentioned is Allaert van Everdingen, who was known for his Scandinavian landscapes; Soolmaker's Italianate figures would have created an interesting contrast or perhaps were for different types of compositions. The ability to paint lively and convincing staffage was highly prized, and artists like Adriaen van de Velde also excelled in this, often collaborating with landscape specialists.
In terms of thematic parallels, Soolmaker's pastoral scenes with a focus on livestock can be seen in relation to the work of dedicated animal painters like Paulus Potter, though Potter's style was typically more distinctly Dutch and less Italianized. The idyllic, light-filled landscapes of Aelbert Cuyp, particularly his scenes along the Dutch rivers bathed in a golden glow, share some atmospheric qualities with the Italianates, even if Cuyp's settings were local. Soolmaker is also said to have imitated certain themes and styles of Philips Wouwerman, who was renowned for his dynamic equestrian scenes, battle pieces, and genre paintings, often featuring horses. Soolmaker's interpretation would likely have been softer, focusing more on the tranquil landscape aspects.
Beyond these direct influences or parallels, Soolmaker was a contemporary of giants in other genres, such as the great landscape painter Jacob van Ruisdael, whose dramatic and often melancholic depictions of the Dutch countryside offered a different vision from the sunny Italianates. Marine painters like Willem van de Velde the Younger captured the Netherlands' maritime power, while genre painters like Jan Steen or Pieter de Hooch chronicled Dutch domestic life. This rich artistic environment provided both competition and inspiration for an artist like Soolmaker.
Legacy and Influence
Jan Frans Soolmaker's career, though relatively brief, contributed to the popularity and development of Italianate landscape painting in the Netherlands. While he is often seen as a follower of Berchem, his works possess their own charm and appeal, characterized by a gentle, pastoral mood and a consistent quality in the depiction of animals and idyllic settings. His paintings found a market among Dutch patrons who appreciated these romanticized visions of a sunnier, classical land, offering an escape from the often-greyer skies of the North.
His influence on subsequent generations of painters is perhaps less direct or pronounced than that of major figures like Berchem. However, as part of the broader Italianate movement, his work helped to sustain this popular genre. The tradition of Dutch artists traveling to or being inspired by Italy continued well into the 18th century, and the foundations laid by Soolmaker's generation played a role in this enduring fascination. His paintings, found in various European collections, including the Royal Castle in Warsaw and museums in Brussels, The Hague, Basel, and Dresden, as well as the Liechtenstein Collection, ensure his continued visibility.
The detailed rendering of staffage in his works also highlights an important aspect of 17th-century Dutch painting practice, where specialization and collaboration were common. Artists who excelled in depicting figures and animals were often sought after to enliven the landscapes or architectural scenes of their colleagues. Soolmaker's proficiency in this area would have been a recognized skill.
Academic interest in Soolmaker continues, with institutions like the RKD (Netherlands Institute for Art History) documenting his life and work. Auction catalogs and museum publications periodically feature his paintings, contributing to ongoing research and appreciation. While he may not have been an innovator on the scale of a Rembrandt or a Vermeer, Jan Frans Soolmaker remains a respected representative of the Dutch Italianate landscape tradition, his art offering a pleasing window onto a romanticized pastoral ideal.
Conclusion: An Enduring Pastoral Vision
Jan Frans Soolmaker (1635-1665) stands as a noteworthy Dutch Golden Age painter whose artistic identity was firmly rooted in the Italianate landscape tradition. Emerging from Antwerp and significantly shaped by the style of Nicolaes Berchem, Soolmaker dedicated his relatively short but productive career to creating idyllic pastoral scenes. His canvases, characterized by warm, golden light, picturesque settings, and meticulously rendered figures and livestock, catered to a contemporary taste for romanticized visions of Italy.
Despite some ambiguities in his biography, particularly concerning the extent of his travels and the precise nature of his apprenticeships, his artistic output speaks to a consistent vision and a capable hand. His works, found in collections across Europe, continue to be appreciated for their serene beauty and their embodiment of the Dutch Italianate aesthetic. As a painter, etcher, and printmaker, Soolmaker contributed to the rich tapestry of 17th-century Netherlandish art, leaving behind a legacy of tranquil landscapes that continue to evoke a timeless, arcadian charm. His place, while perhaps in the shadow of more famous contemporaries, is secure as a skilled practitioner of a beloved genre.
