Johann Closterman: A Baroque Portraitist in the Courts of Europe
Johann Closterman, also known during his English career as John Closterman, stands as a significant, if sometimes overshadowed, figure in the landscape of late Baroque portraiture. Born in Osnabrück, in the Prince-Bishopric of Osnabrück, Holy Roman Empire, around 1660, his life and career would see him traverse several major European artistic centers, leaving a legacy of distinguished portraits that capture the likenesses of the era's aristocracy and royalty. His death in London on May 24, 1711, marked the end of a career that skillfully navigated the competitive artistic milieus of Paris, London, and Madrid.
Early Life and Artistic Formation in Germany and Paris
Johann Closterman's initial artistic inclinations were nurtured within his own family. His father, also an artist, provided him with the foundational rudiments of drawing and painting. This early exposure undoubtedly instilled in the young Closterman a familiarity with the tools and techniques of the trade, preparing him for more formal instruction. The artistic environment of Osnabrück, while perhaps not a leading European center, would have offered a grounding in the prevailing German Baroque traditions.
Seeking to broaden his artistic horizons and refine his talents, Closterman made the pivotal decision to move to Paris in 1679. The French capital was, at this time, a dominant force in European art and culture, largely under the influence of the grand style favored by the court of Louis XIV. In Paris, Closterman had the distinct advantage of studying under François de Troy (1645–1730), a highly respected portrait painter and a prominent member of the Académie Royale de Peinture et de Sculpture. De Troy was known for his elegant and refined portraits, often imbued with a sense of aristocratic grace, and his tutelage would have exposed Closterman to the sophisticated French approach to portraiture, emphasizing flattering likenesses, rich textures, and dynamic compositions. This period was crucial in shaping Closterman's style, blending his German artistic roots with the polished classicism and burgeoning Rococo sensibilities of the French school. Other prominent French portraitists of this era, whose work Closterman might have encountered, include Hyacinthe Rigaud and Nicolas de Largillière, both masters of the state portrait.
Arrival and Establishment in England: Partnership and Independence
In 1681, Closterman relocated to England, a country whose aristocracy had a strong appetite for portraiture, a tradition significantly shaped by earlier masters like Anthony van Dyck. His arrival coincided with a vibrant period in English art. Initially, Closterman found employment and collaboration with John Riley (1646–1691), a leading English portrait painter who held the position of Principal Painter to King William III and Queen Mary II jointly with Sir Godfrey Kneller.
Closterman's role in Riley's studio was multifaceted. He was often tasked with painting draperies and backgrounds, a common practice where established masters would employ assistants for less critical parts of a composition. This collaboration was mutually beneficial: Riley gained a skilled assistant capable of executing these elements to a high standard, while Closterman gained invaluable experience, access to a network of patrons, and a deeper understanding of the English taste in portraiture. He is known to have completed several of Riley's unfinished works after Riley's untimely death in 1691. This period of working alongside Riley was instrumental in establishing Closterman's reputation in London. The prevailing style in England, heavily influenced by Van Dyck and his successor Peter Lely, favored a certain grandeur and elegance, which Closterman's training had well prepared him for.
Following Riley's death, Closterman embarked on an independent career. He quickly established himself as a sought-after portraitist in his own right, attracting commissions from prominent members of the English nobility. His ability to capture not only a likeness but also the status and character of his sitters contributed to his growing success. He developed a distinct style that, while rooted in the Baroque, possessed an elegance and a sensitivity that appealed to his clientele.
The Height of His Career: Patronage and Rivalry
The 1690s and early 1700s marked the zenith of Closterman's career in England. He secured patronage from some of the most influential figures of the time, including the powerful Duke of Marlborough and the intellectual Anthony Ashley-Cooper, 3rd Earl of Shaftesbury. His portraits of these individuals and their families are among his most significant contributions to English art.
One of his most prestigious commissions was the full-length coronation portrait of Queen Anne, painted around 1702. This work, depicting the Queen in her magnificent coronation robes, is a testament to Closterman's skill in rendering regal attire and conveying royal authority. It is a quintessential example of state portraiture, designed to project power and majesty. Securing such a commission was a significant achievement, especially given the competitive artistic environment in London, which was dominated by Sir Godfrey Kneller (1646–1723).
Kneller, a German-born painter like Closterman, had become the leading court painter in England, known for his prolific output and his ability to capture the likenesses of the era's elite with a fashionable flair. Closterman and Kneller were natural rivals, often vying for the same prestigious commissions. While Kneller's studio was larger and his output more extensive, Closterman managed to carve out a successful niche, sometimes even winning commissions over Kneller, as was reportedly the case with the Queen Anne portrait. This rivalry spurred both artists, contributing to the vibrancy of the London art scene. Other notable portraitists active in England during this period included Michael Dahl, a Swedish-born artist who also enjoyed considerable success.
Artistic Style and Techniques
Johann Closterman's artistic style is firmly rooted in the Baroque tradition, characterized by its dynamism, rich coloration, and dramatic use of light and shadow (chiaroscuro), though often more subtly employed in his English works compared to, say, Caravaggio or Rembrandt. His training under François de Troy in Paris instilled in him a sense of elegance and refinement, evident in the graceful poses and sophisticated compositions of his portraits.
A hallmark of Closterman's work is his meticulous attention to detail, particularly in the rendering of fabrics and attire. Silks, velvets, lace, and armor are depicted with a tactile quality that conveys the richness and status of his sitters. This skill was likely honed during his time painting draperies for John Riley but became a distinctive feature of his independent work. His brushwork, while capable of capturing fine detail, also possessed a certain fluency and confidence.
Closterman's portraits often aim to convey not just the physical likeness of the sitter but also their personality and social standing. He employed conventional Baroque compositional devices, such as classical columns, swags of drapery, and allegorical elements, to enhance the grandeur of his subjects. However, there is often a sensitivity in his portrayal of faces that suggests an attempt to capture a more intimate psychological dimension, moving beyond mere flattery. His palette was rich and varied, capable of both vibrant hues and subtle tonal gradations. The influence of Flemish masters like Rubens and Van Dyck, whose works were well-known in England, can also be discerned in the ambition and scale of some of his larger group portraits.
Notable Works: A Closer Look
Several key works exemplify Johann Closterman's artistic achievements and provide insight into his style and patronage.
Portrait of Queen Anne in Coronation Robes (c. 1702): This iconic image showcases Closterman's ability to handle the demands of state portraiture. Queen Anne is depicted full-length, standing, adorned in elaborate ermine-lined robes and holding the orb and sceptre. The composition is majestic, with rich drapery and symbols of monarchy creating an aura of power and divine right. The rendering of the textures – the sheen of silk, the softness of ermine, the glint of gold – is masterful. This work is a significant historical document as well as an artistic achievement, capturing a pivotal moment in British history. It is now in the collection of the National Portrait Gallery, London.
John Churchill, 1st Duke of Marlborough, and His Family (c. 1698): This ambitious group portrait is one of Closterman's most complex and celebrated works. It depicts the victorious Duke surrounded by his wife, Sarah, and their children. The composition is dynamic, with figures arranged in a lively, almost theatrical manner, characteristic of Baroque group portraiture. The painting not only serves as a family record but also as a statement of the Duke's power, wealth, and lineage. The individual characterizations within the group are noteworthy, and the overall effect is one of opulent domesticity combined with public grandeur. This work demonstrates Closterman's skill in managing complex compositions and multiple figures.
Anthony Ashley-Cooper, 3rd Earl of Shaftesbury, and his brother, the Hon. Maurice Ashley-Cooper (c. 1700): This double portrait is notable for its intellectual air, reflecting Shaftesbury's status as a philosopher and writer. Closterman captures a sense of thoughtful introspection in the Earl's depiction. The composition is more restrained than some of his grander works, focusing on the character of the sitters. It highlights Closterman's versatility in adapting his style to the personality and status of his patrons. Shaftesbury was an important patron and is said to have advised Closterman on artistic matters, indicating a close relationship between artist and sitter.
Portrait of a Dwarf (Richard Gibson?) (date unknown): While Closterman was primarily known for his aristocratic portraits, works like this demonstrate a broader range. If indeed depicting Richard Gibson, a prominent court dwarf and miniature painter who worked for Charles I and later artists, it shows a sensitivity and dignity in portraying individuals outside the conventional norms of heroic portraiture. Such works offer a glimpse into different facets of society and Closterman's ability to engage with them.
His oeuvre also includes numerous portraits of other nobles, gentry, and prominent figures of the era, many of which are held in private collections or regional museums. Each contributes to our understanding of his style and the society he depicted.
Sojourn in Spain and Later Years
Around 1698, Closterman's career took an international turn when he traveled to Spain. The Spanish court, with its own rich tradition of portraiture exemplified by masters like Diego Velázquez and Juan Carreño de Miranda, offered new opportunities. During his time in Madrid, which lasted approximately two years, Closterman received commissions to paint portraits of King Charles II of Spain and his wife, Queen Mariana of Neuburg. Working for the Spanish Habsburgs was a significant honor and further burnished his international reputation. His style, with its blend of Northern European detail and French elegance, would have been a distinct offering in the Spanish artistic landscape, which at the time also saw artists like Claudio Coello active.
Upon his return to England around 1700, Closterman resumed his successful practice. However, his later years were reportedly marked by some personal difficulties. Despite these, he continued to paint and maintain his position as a respected artist. His output may have lessened compared to his peak years, but he remained an active figure in the London art world until his death in Covent Garden, London, in May 1711. He was buried in St. Paul's Church, Covent Garden, a resting place for many notable figures from the arts.
Relationships with Contemporaries and the Artistic Milieu
Closterman's career was shaped by his interactions with other artists. His early collaboration with John Riley was formative, providing him with an entry into the English art market. Riley, though perhaps less flamboyant than Lely or Kneller, was a painter of considerable sensitivity, and Closterman undoubtedly learned from his approach to characterization.
His most significant professional relationship, in terms of rivalry, was with Sir Godfrey Kneller. Both German-born, they were the leading portraitists in London for a period. Kneller's studio was a veritable factory, producing vast numbers of portraits for the English elite. While Closterman could not match Kneller's sheer output or his official dominance (Kneller became Principal Painter to the King and was later made a baronet), he offered a distinct alternative, perhaps with a greater emphasis on meticulous finish and a slightly different sensibility. The competition between them, while likely intense at times, was a common feature of the art world, pushing artists to excel.
His teacher in Paris, François de Troy, was a crucial influence, connecting Closterman to the mainstream of French Baroque portraiture. De Troy's own style evolved, later incorporating elements of the emerging Rococo, but his grounding in academic principles and elegant presentation left a lasting mark on Closterman.
Closterman would also have been aware of the legacy of earlier masters who had worked in England, such as Anthony van Dyck and Peter Lely. Van Dyck, in particular, had set the standard for aristocratic portraiture in Britain, and his influence was pervasive, shaping the expectations of patrons and the aspirations of artists for generations. Lely, his successor, continued this tradition with a more sensuous style. Closterman and his contemporaries operated within this established framework, adapting it to the tastes of the late Stuart and early Hanoverian periods.
Other painters active in London during Closterman's time included Michael Dahl, a Swedish artist who was another significant rival to Kneller, and various less famous but competent portraitists. The artistic community in London was relatively close-knit, and artists would have been aware of each other's work, styles, and patrons. The presence of skilled engravers like John Smith, who reproduced many of Closterman's portraits as mezzotints, also played a crucial role in disseminating his work and enhancing his reputation among a wider public. These engravings helped to popularize his images and secure his place in the visual record of the era.
Legacy and Influence
Johann Closterman's legacy resides primarily in his contribution to British portraiture during a vibrant period of artistic activity. While often overshadowed in art historical narratives by the towering figure of Sir Godfrey Kneller, or the earlier impact of Van Dyck and Lely, Closterman was a highly skilled and successful artist who produced a significant body of work. His portraits are valuable historical documents, providing visual records of key figures from the late 17th and early 18th centuries.
His ability to blend German thoroughness, French elegance, and an understanding of English taste allowed him to create portraits that were both dignified and engaging. His meticulous rendering of costume and his often insightful characterizations distinguish his work. He successfully navigated the demands of courtly and aristocratic patronage in multiple countries, a testament to his skill and adaptability.
While he may not have founded a distinct "school" of followers in the way some artists did, his work contributed to the high standard of portrait painting in England. His paintings are represented in major collections, including the National Portrait Gallery in London, and various stately homes throughout the United Kingdom, ensuring their continued visibility. His portraits, particularly those of Queen Anne and the Duke of Marlborough, remain important visual touchstones for understanding the personalities and the visual culture of the Augustan Age. He represents a crucial link in the chain of portrait painters working in Britain, bridging the gap between the Restoration painters and the later flourishing of the British school with artists like Joshua Reynolds and Thomas Gainsborough, though their styles would evolve significantly from the Baroque conventions Closterman mastered.
In conclusion, Johann Closterman was a talented and industrious painter who made a notable mark on European Baroque portraiture. His journey from Osnabrück to the artistic capitals of Paris, London, and Madrid, and his success in securing high-profile commissions, underscore his abilities. His paintings offer a window into the world of the European elite at a time of significant political and cultural change, rendered with a skill and elegance that affirm his place in the annals of art history.
