Joachim von Sandrart the Elder, born on May 12, 1606, in Frankfurt am Main, and deceased on October 14, 1688, in Nuremberg, stands as a pivotal figure in the landscape of 17th-century European art. He was not only a prolific painter and engraver but also a highly influential art historian and theorist. His life and work bridged the artistic worlds of Germany, the Netherlands, and Italy, and his magnum opus, the Teutsche Academie, remains an invaluable resource for understanding the art and artists of his era. His contributions offer a unique window into the cultural currents of the Baroque period, reflecting a deep engagement with its aesthetic principles and intellectual pursuits.
Early Life and Formative Influences
Sandrart's journey into the world of art began in a family that had experienced the religious tumult of the time. Originally from Mons or Bergen in the Spanish Netherlands (present-day Belgium), his Calvinist family sought refuge in Frankfurt due to religious persecution. This background likely instilled in him a resilience and adaptability that would serve him well in his peripatetic career. His initial education was provided by his father, who taught him reading and writing, laying a foundation for his later scholarly endeavors.
His formal artistic training commenced around the age of nine or ten, when he was sent to Nuremberg to learn engraving under Peter Isselburg. However, his true passion lay in painting and the broader world of art. A significant step in his development occurred when he moved to Prague in 1620 or 1621 to study engraving with Aegidius Sadeler II, a renowned printmaker at the imperial court. Sadeler, recognizing Sandrart's talent for painting, advised him to pursue that path and recommended him to Gerrit van Honthorst in Utrecht.
Around 1623, at the age of fifteen, Sandrart arrived in Utrecht, a vibrant artistic center in the Dutch Republic. He became a pupil of Gerrit van Honthorst, one of the leading Utrecht Caravaggisti, known for his dramatic use of light and shadow (chiaroscuro) and his lively genre scenes and portraits. Under Honthorst's tutelage, Sandrart honed his skills as a painter, absorbing the Dutch master's techniques and stylistic preferences. This period was crucial, as it exposed him to the dynamic Dutch art market and the innovative trends emerging from it.
The Grand Tour: Italy and Encounters with Masters
A pivotal moment in Sandrart's early career was his encounter with Peter Paul Rubens in 1627. When Rubens visited Honthorst in Utrecht, Sandrart, then about 21, had the opportunity to meet the Flemish master. Impressed by Sandrart, Rubens invited the young artist to accompany him on his diplomatic and artistic travels. Sandrart served as Rubens's assistant and companion, a role that provided him with unparalleled exposure to high art, courtly life, and the workings of a major international artistic enterprise. He accompanied Rubens on visits to various artists' studios in Holland, including those of painters like Cornelis van Poelenburch, whose works Rubens admired and purchased.
Following his association with Rubens, Sandrart embarked on the customary Grand Tour to Italy, the ultimate finishing school for aspiring artists of the era. He arrived in Venice in 1628, where he encountered the painter Johann Liss, another German artist who had found success in Italy. He also met Nicolas Régnier (Niccolò Renieri), a Flemish painter active in Venice. From Venice, he traveled to Bologna, and then to Rome, where he resided for several years, from approximately 1629 to 1635.
Rome was the epicenter of the art world, and Sandrart immersed himself in its classical antiquities and the works of Renaissance and Baroque masters. He associated with the Schildersbent, the society of Dutch and Flemish artists in Rome, known for their bohemian lifestyle. During his Roman period, he came into contact with prominent artists such as Claude Lorrain, Nicolas Poussin, Pieter van Laer (nicknamed "Il Bamboccio," whose genre scenes of Roman street life were highly popular), and the sculptor François Duquesnoy. He also studied the works of Caravaggio and his followers, as well as the classical tradition revived by Annibale Carracci. Sandrart was active as a painter in Rome, producing portraits, mythological scenes, and religious subjects, often demonstrating a style that blended Italianate grandeur with Northern European detail. He also began to act as an art dealer and agent, leveraging his connoisseurship and connections.
Return to the North: Amsterdam and Courtly Appointments
After his formative years in Italy, Sandrart returned north, first to Frankfurt in 1635, and then, due to the disruptions of the Thirty Years' War, he moved to Amsterdam in 1637. Amsterdam was then at the height of its Golden Age, a bustling hub of commerce and culture. Sandrart quickly established himself as a successful portrait painter. His clients included prominent citizens, scholars, and merchants. One of his notable commissions during this period was a large group portrait, The Company of Captain Cornelis Bicker and Lieutenant Frederick van Banchem (1638-1640), for the Amsterdam civic guard, a genre famously mastered by artists like Frans Hals and, later, Rembrandt van Rijn. He also painted portraits of figures like the renowned Dutch poet Joost van den Vondel and the historian Pieter Cornelisz. Hooft.
During his Amsterdam period, Sandrart also acted as a gallery director and managed art collections, further developing his expertise as a connoisseur. He maintained connections with many leading Dutch artists, including Rembrandt, whose career was then ascending. Other notable Dutch painters active during Sandrart's time in Amsterdam or whose lives overlapped significantly with his include Jacob Adriaensz Backer, known for his elegant portraits and history paintings; Govert Flinck, a pupil of Rembrandt who became a fashionable portraitist; and Ferdinand Bol, another of Rembrandt's successful students.
In 1645, Sandrart's career took another turn when he accepted an invitation to become the court painter to Maximilian I, the Elector of Bavaria, in Munich. This appointment marked a significant elevation in his status. In Munich, he was commissioned to paint large allegorical and religious works, including the Twelve Months and Day and Night for the Schleissheim Palace. His style during this period often reflected the grandeur and didactic purposes favored by courtly patrons. He also spent time in Vienna, where he painted portraits for the imperial court of Ferdinand III, including a portrait of the Emperor and his wife.
Sandrart the Painter: Style and Major Works
Joachim von Sandrart's oeuvre as a painter is characterized by its versatility and its synthesis of various European artistic traditions. Having trained under Honthorst, traveled with Rubens, and spent considerable time in Italy, his style incorporated elements of Dutch realism, Flemish Baroque dynamism, and Italian classicism. He was adept at portraiture, historical and mythological scenes, allegories, and religious subjects.
His portraits, such as those executed in Amsterdam and later at various German courts, often display a keen psychological insight and a meticulous rendering of textures and details, characteristic of the Northern tradition. His history and allegorical paintings, on the other hand, frequently exhibit a more monumental and dramatic quality, influenced by Italian Baroque art and the grand manner of Rubens. He demonstrated a sophisticated understanding of composition, anatomy, and the use of light and shadow to create volume and emotional impact.
Among his representative works, several stand out:
The Company of Captain Cornelis Bicker and Lieutenant Frederick van Banchem (c. 1638-1640, Rijksmuseum, Amsterdam): This large civic guard portrait demonstrates his ability to handle complex group compositions and capture individual likenesses within a dynamic narrative, a hallmark of Dutch Golden Age painting.
Minerva and Saturn Protecting Art and Science from Envy and Falsehood (1644, Kunsthistorisches Museum, Vienna): An allegorical piece that showcases his classical learning and his ability to convey complex ideas through symbolic imagery, typical of Baroque allegories.
Odysseus and Nausicaa (1641): This mythological painting illustrates a scene from Homer's Odyssey, rendered with a blend of classical idealism and Baroque vitality.
The Month of November (part of the Twelve Months series for Schleissheim Palace, c. 1640s): These large-scale allegorical works were significant courtly commissions, demonstrating his capacity for grand decorative schemes.
Laocoön (c. 1632/1635): Likely painted during or shortly after his Italian sojourn, this work would have engaged with the famous Hellenistic sculpture, a touchstone for artists studying classical art in Rome.
Pygmalion (engraving): As an engraver himself, Sandrart also produced prints. This subject, drawn from Ovid's Metamorphoses, was popular for its exploration of the artist's creative power.
While Sandrart was a respected and successful painter in his own right, his artistic output is sometimes seen as eclectic, reflecting the diverse influences he absorbed. However, this very eclecticism also speaks to his broad knowledge and his role as a transmitter of artistic ideas across different European regions.
Anecdotes and Encounters: Glimpses into a Rich Life
Sandrart's writings, particularly the Teutsche Academie, are peppered with personal recollections and anecdotes that provide vivid insights into the art world of his time and the personalities of its leading figures. His accounts of his time with Peter Paul Rubens are particularly illuminating.
He recorded, for instance, the details of Rubens's visit to Utrecht and Amsterdam in 1627. When Honthorst fell ill, it was Sandrart who accompanied Rubens on visits to the studios of prominent artists. He noted Rubens's keen eye for quality, exemplified by his purchase of works by Cornelis van Poelenburch. Sandrart also observed Rubens's diplomatic acumen, noting how the great Fleming skillfully used art and his personal charm in his interactions with dignitaries, effectively making art a tool of international diplomacy.
One famous anecdote recounted by Sandrart illustrates Rubens's wit and his practical view of his own success. When an alchemist approached Rubens, seeking patronage for his experiments to turn base metals into gold, Rubens is said to have politely declined, stating that the alchemist had come too late, for he, Rubens, had "long since found the true philosopher's stone in my brush and colors." This remark cleverly alluded to the immense wealth and fame Rubens had achieved through his artistic talent.
Sandrart admired Rubens not only for his artistic genius but also for his cultivated persona, describing him as an "elegant courtier" whose talents set him apart from many other artists. These personal observations, preserved in Sandrart's writings, enrich our understanding of these historical figures beyond their artistic achievements, offering a more human and nuanced perspective.
The Magnum Opus: Teutsche Academie der Edlen Bau-, Bild- und Mahlerey-Künste
Perhaps Joachim von Sandrart's most enduring legacy is his monumental work, the Teutsche Academie der Edlen Bau-, Bild- und Mahlerey-Künste (German Academy of the Noble Arts of Architecture, Sculpture, and Painting). Published in several parts between 1675 and 1680, with a Latin edition appearing later, this encyclopedic work is a cornerstone of early modern art history and theory. It was conceived in the tradition of Giorgio Vasari's Lives of the Most Excellent Painters, Sculptors, and Architects (1550/1568) and Karel van Mander's Schilder-Boeck (Book of Painters, 1604).
The Teutsche Academie is a vast compilation, divided into several sections:
1. Biography of Artists: This part contains biographies of ancient, Italian, and particularly German and Netherlandish artists. Sandrart drew upon existing sources like Vasari and Van Mander, but critically, he added a wealth of information about his contemporaries and earlier Northern European masters, many of whom he knew personally or about whom he had gathered first-hand accounts. He provided valuable, sometimes unique, information on artists such as Matthias Grünewald (whose identity he helped to clarify, distinguishing him from Lucas Cranach), Albrecht Dürer, Hans Holbein, Adam Elsheimer, and many of his own contemporaries like Rembrandt and Rubens.
2. Art Theory: Sandrart discussed the theoretical foundations of art, covering topics such as the hierarchy of genres, the importance of drawing (disegno), the use of color, perspective, and anatomy. He emphasized the intellectual aspects of art and the necessity of a broad education for artists.
3. Iconography and Mythology: He included explanations of classical mythology and allegorical subjects, providing a guide for artists and connoisseurs to understand the complex imagery prevalent in Baroque art. This section drew heavily on Cesare Ripa's Iconologia.
4. Descriptions of Collections and Antiquities: Sandrart described famous art collections and ancient Roman ruins, reflecting his antiquarian interests and his experience as a connoisseur.
5. A Section on Chinese Painting: Notably, the Teutsche Academie is considered one of the first Western works to systematically discuss and evaluate Chinese painting, based on information available at the time, showcasing Sandrart's broad intellectual curiosity.
The Teutsche Academie was lavishly illustrated with engravings, many based on Sandrart's own drawings or those by other artists. It served not only as a historical record but also as a practical guide and a source of inspiration for artists and art lovers. Its publication was a monumental undertaking, reflecting Sandrart's dedication to elevating the status of art and artists in the German-speaking world. It remains an indispensable primary source for art historians studying the Baroque period, particularly in Northern Europe.
Contemporaries and Collaborators
Throughout his extensive career, Joachim von Sandrart interacted with a vast network of artists, patrons, and intellectuals across Europe. His teachers were foundational: Aegidius Sadeler II in engraving and Gerrit van Honthorst in painting. His association with Peter Paul Rubens was profoundly influential, shaping his artistic outlook and career trajectory. His cousin and mentor, the engraver and art dealer Michel Le Blond, also played an important role, particularly during his early years and travels.
In Italy, he moved in circles that included Claude Lorrain, Nicolas Poussin, Pieter van Laer, and François Duquesnoy. He collaborated with fellow Northern artists in Rome, such as the brothers Jan Both and Andries Both, who specialized in Italianate landscapes often populated with figures; Sandrart sometimes contributed figures to landscapes by other artists, or vice versa.
During his time in Amsterdam, he was a contemporary of Rembrandt van Rijn, Jacob Adriaensz Backer, Govert Flinck, and Ferdinand Bol. He collaborated on a group portrait in 1644 with Jacob Duck, Bartholomeus van der Helst (a highly successful portraitist in Amsterdam), and Cornelis van Poelenburch. He also collaborated with the publisher Matthias Merian the Elder on projects like Danckerts Historis.
Later in his career, particularly in Nuremberg, he was instrumental in fostering artistic life. He was a co-founder of the Nuremberg Academy of Fine Arts in 1662, the first such institution in the German-speaking lands, alongside figures like the mathematician and engraver Georg Christoph Eimmart the Younger. This initiative aimed to provide structured training for artists and elevate the status of the arts.
His Teutsche Academie also documents his admiration for many artists. For instance, he wrote with appreciation about the German painter Adam Elsheimer, whose small, meticulously detailed mythological and biblical scenes on copper were highly influential. He also recognized the talents of artists like Robert Duval, whom he encountered in Lübeck and included in his Academie. His writings provide evidence of numerous other connections and acquaintances, painting a rich tapestry of the 17th-century art world.
Later Years, Ennoblement, and Legacy
In 1653, in recognition of his services and artistic achievements, Joachim von Sandrart was ennobled by Emperor Ferdinand III, allowing him to use the title "von Sandrart." This was a significant honor that reflected his standing in society. He settled in Nuremberg in his later years, a city with a rich artistic heritage dating back to Albrecht Dürer. It was here that he dedicated much of his energy to compiling and publishing the Teutsche Academie.
In 1667, he was admitted to the prestigious Fruchtbringende Gesellschaft (Fruitbearing Society), a German literary society founded to standardize and promote the German language and culture. His membership underscores his intellectual pursuits and his commitment to German cultural life.
Joachim von Sandrart passed away in Nuremberg on October 14, 1688, at the advanced age of 82. He left behind a substantial body of work as a painter and engraver, but his most lasting impact arguably comes from his activities as an art historian and theorist.
His legacy is multifaceted. As an artist, he was a skilled practitioner who absorbed and synthesized various European styles, contributing to the artistic landscape of Germany and the Netherlands. His paintings can be found in major museums across Europe. As an art writer, his Teutsche Academie is an invaluable historical document. It preserved biographical information and critical assessments of numerous artists that might otherwise have been lost. It also played a crucial role in shaping the canon of German and Netherlandish art and contributed to the development of art history as a discipline. His efforts to establish an art academy in Nuremberg also had a lasting impact on artistic education in Germany.
Conclusion
Joachim von Sandrart the Elder was a truly remarkable figure of the Baroque era – a "German Vasari" whose life and work traversed geographical and disciplinary boundaries. He was a painter of considerable talent, a knowledgeable connoisseur, an astute art dealer, a dedicated educator, and, most importantly, a pioneering art historian. His extensive travels, his encounters with the leading artists of his day, and his scholarly diligence culminated in the Teutsche Academie, a work that not only chronicled the art of his time but also actively sought to promote and dignify the artistic professions. Sandrart's enduring influence lies in this comprehensive vision of art as an intellectual and cultural pursuit, and his work continues to inform and inspire the study of 17th-century European art.
