John Closterman, also known by his German name Johann Klostermann, was a significant portrait painter active during the late Baroque period. His career, though relatively brief, saw him rise to prominence in England, securing prestigious commissions and navigating the competitive artistic landscape of London. His work reflects the stylistic trends of his time, blending influences from his German origins, French training, and the demands of the English art market, leaving a distinct mark on the tradition of British portraiture.
Early Life and Artistic Foundations
John Closterman was born in Osnabrück, in the Electorate of Hanover, Germany, predominantly believed to be in the year 1660. His father was an artist, and it was under his initial tutelage that Closterman received his foundational training in painting. This early exposure within an artistic household would have provided him with the essential skills and an understanding of the painter's craft from a young age. The artistic environment in Osnabrück at the time would have been influenced by Dutch and Flemish art, given its geographical proximity, and these regional characteristics may have subtly informed his early development.
Seeking to further his artistic education and career prospects, Closterman made a pivotal move in 1679. He travelled to Paris, then the undisputed cultural capital of Europe and a hub for artistic innovation. In Paris, he entered the esteemed workshop of François de Troy. De Troy was a highly respected portrait painter and a prominent member of the Académie Royale de Peinture et de Sculpture. Working under such a master would have exposed Closterman to the sophisticated French academic tradition, emphasizing elegance, refined technique, and the grand manner of portraiture then in vogue at the court of Louis XIV. Artists like Hyacinthe Rigaud and Nicolas de Largillière were de Troy's contemporaries and set the standard for opulent and psychologically astute portraiture in France, an environment that Closterman would have absorbed. This period in Paris was crucial for honing his skills, particularly in capturing likenesses and rendering luxurious fabrics and textures, which were hallmarks of French Baroque portraiture.
Arrival in England and Partnership with John Riley
In 1681, Closterman made another significant move, this time to England. London was a burgeoning center for portraiture, with a wealthy aristocracy and gentry eager to have their likenesses immortalized. The dominant figure in English portraiture prior to this period had been Sir Peter Lely, a Dutch-born painter who had succeeded Sir Anthony van Dyck as the principal painter to the court. By the time Closterman arrived, Lely's influence was still strong, but new talents were emerging.
Soon after his arrival, Closterman began a fruitful collaboration with John Riley. Riley was an established English portrait painter, respected for his honest and unpretentious likenesses, somewhat in contrast to the more flamboyant continental styles. He had become one of the leading court painters after Lely's death in 1680. The partnership between Closterman and Riley proved to be a successful one. It is generally understood that in their collaborative works, Riley, known for his skill in capturing the head and face, would often paint these portions, while Closterman, with his Parisian training, excelled in rendering the draperies, backgrounds, and overall composition, bringing a touch of continental flair.
This division of labor was not uncommon in busy portrait studios of the era. Together, they produced a number of notable portraits, including those of figures like Catherine Elliott and the renowned woodcarver Grinling Gibbons, whose own artistry adorned many of the grand houses for which these portraits were destined. Their combined talents allowed them to cater effectively to the demands of their clientele, and Closterman quickly began to establish his own reputation within the London art scene. The collaboration likely helped Closterman integrate into the English artistic milieu and gain access to a network of patrons.
A Flourishing Career: Patrons and Portraits
Following John Riley's death in 1691, Closterman continued as an independent artist, his reputation now firmly established. He attracted a distinguished clientele, including members of the nobility and influential public figures. Among his most important patrons were John Churchill, the 1st Duke of Marlborough, one of England's greatest military commanders, and Charles Seymour, 6th Duke of Somerset, known as "the Proud Duke," a prominent Whig politician. Portraits of such powerful individuals were not merely likenesses but also statements of status, power, and lineage, and Closterman proved adept at fulfilling these requirements.
One of his most significant achievements came in 1702 when he won a prestigious commission to paint the full-length portrait of Queen Anne for the Guildhall in London (some sources state the Royal Exchange). This was a notable triumph, as he secured the commission in competition with Sir Godfrey Kneller, who was by then the dominant force in English portraiture and Principal Painter to the Crown. Kneller, also German-born, had established a highly efficient studio and a somewhat formulaic but popular style. Closterman's success in this instance underscores his high standing at the time. His portrait of Queen Anne, now in the National Portrait Gallery, London, depicts the monarch in her coronation robes, exuding regal authority and a sense of solemn dignity, characteristic of state portraiture.
Closterman also painted Anthony Ashley-Cooper, 3rd Earl of Shaftesbury, a renowned philosopher, writer, and politician. The portrait of Shaftesbury is particularly interesting as it depicts the Earl in a classical pose, reflecting his intellectual pursuits and Neoplatonic ideals. Closterman’s ability to tailor the portrayal to the sitter’s persona was a key element of his success. Other notable sitters included William Byrd II of Westover, Virginia, a wealthy American colonist, planter, and author, whose portrait is stylistically linked to Closterman and Riley's studio. He also painted Daniel Parke II, another colonial figure.
His oeuvre includes works such as A Boy with a Fowling Piece, which showcases his skill in rendering textures and a certain informal charm. He also produced several likenesses of the celebrated composer Henry Purcell; one notable chalk drawing of Purcell is housed in the National Portrait Gallery. The variety of his sitters, from royalty and high nobility to intellectuals and colonial figures, demonstrates the breadth of his appeal.
The Spanish Sojourn
In 1698, Closterman embarked on a journey to Spain, a significant undertaking for an artist based in England. The primary purpose of this visit was to paint portraits of the Spanish King, Charles II, and his wife, Queen Mariana of Neuburg. The Spanish Habsburg court, though in decline, still maintained a tradition of lavish royal portraiture, heavily influenced by masters like Titian, Rubens, and Velázquez.
Painting the Spanish monarchs was a prestigious commission that would have enhanced Closterman's international reputation. His time in Spain would also have exposed him to the rich artistic heritage of the country, including the works of the great Spanish masters. While in Madrid, he would have had the opportunity to study the royal collections, which included masterpieces by Titian, whose influence on portraiture was profound across Europe. The experience of the Spanish court, with its strict etiquette and distinct cultural atmosphere, would have been a contrast to London. One of his works from this period, Portrait of a Gentleman, now in the Prado Museum, Madrid, likely dates from this Spanish visit or was influenced by it, showcasing a dignified and somewhat sombre elegance typical of Spanish portrait traditions.
Artistic Style, Influences, and Rivalry
John Closterman's artistic style was a composite of various influences, skillfully adapted to the English taste. His German origins provided a grounding in the Northern European tradition, while his Parisian training under François de Troy imbued him with French elegance and technical polish, particularly in the rendering of drapery and accessories. In England, he absorbed the prevailing trends, which were still largely shaped by the legacy of Van Dyck, with his emphasis on aristocratic grace and fluid brushwork, and the more direct realism of painters like John Riley.
The provided information suggests Closterman was influenced by Rembrandt and Kneller. Rembrandt's profound psychological depth and mastery of chiaroscuro were admired throughout Europe, and his influence, though perhaps indirect, could be seen in the desire for more characterful portraits. The influence of Sir Godfrey Kneller is more complex. Kneller was Closterman's chief rival, and while they competed for commissions, artists working in the same city at the same time inevitably influence one another, even if only by setting a standard to react against or emulate. Both artists catered to a similar clientele and often employed studio assistants to meet demand. Kneller’s studio was particularly prolific, sometimes leading to a more standardized output, whereas Closterman's works, while also fitting within Baroque conventions, occasionally show a more individualized approach.
Closterman's portraits are characterized by a solid sense of form, competent draughtsmanship, and a rich, often somewhat darker, palette. He paid considerable attention to the depiction of luxurious fabrics – silks, velvets, and lace – which were important status symbols for his sitters. His compositions are generally conventional for the period, often featuring classical columns, swags of drapery, or landscape backgrounds to enhance the sitter's dignity. While perhaps not reaching the psychological penetration of a Rembrandt or the effortless elegance of a Van Dyck, Closterman was a highly skilled practitioner who consistently delivered portraits that satisfied his patrons' desire for impressive and dignified likenesses. Other contemporary portraitists in London included Michael Dahl, a Swedish-born painter who also enjoyed considerable success and offered another alternative to Kneller's dominance.
Collaborations and Connections Beyond Riley
While his partnership with John Riley was formative, Closterman's career involved interactions with a broader artistic community. The very nature of portrait painting in this era often involved connections with engravers who would reproduce popular portraits for wider dissemination. Artists like John Smith, a prominent mezzotint engraver, created prints after Closterman's paintings, including portraits of Queen Anne and the Duke of Marlborough, which helped to popularize his images.
His sitters themselves often connected him to wider intellectual and artistic circles. For instance, painting Grinling Gibbons, the pre-eminent wood sculptor of the age, placed him in direct contact with another leading artist. Shaftesbury, his patron, was a key figure in aesthetic philosophy. The artistic world of late Stuart and early Georgian London was relatively compact, and artists, patrons, writers, and musicians often moved in overlapping circles. For example, his portraits of Henry Purcell connect him to the vibrant musical life of the capital.
The mention of an Italian sojourn in some sources, though less detailed than his Spanish trip, suggests further exposure to continental art. If he did travel to Italy, he would have encountered the works of leading Italian Baroque masters such as Carlo Maratta in Rome, who was a dominant figure in Roman painting, or the rich artistic traditions of Venice and Florence. Such a trip would have further broadened his artistic vocabulary, although the primary influences on his mature style seem to be French and English. The provided text also mentions a possible connection with the sculptor Domenico Guidi in Italy, though the extent of this interaction is unclear.
Later Years, Death, and Legacy
John Closterman's career, despite its successes, was cut relatively short. He died in London on May 24, 1711, at the age of approximately 51 (based on a 1660 birth year). Some sources offer conflicting dates, suggesting a birth year of 1656 and death in 1713, but the 1660-1711 timeframe is more widely accepted by art historians. His relatively early death meant that his period of independent prominence after Riley's passing lasted about two decades.
Despite this, Closterman left a notable body of work that contributes to our understanding of British portraiture at the turn of the 18th century. He successfully navigated a competitive art world, working alongside and often competing with figures like Kneller and Dahl. His ability to secure royal patronage and commissions from leading members of the aristocracy attests to his skill and reputation.
His influence can be seen in the work of some subsequent painters, or at least in the continuation of the stylistic trends he represented. The provided text notes that the portrait of William Byrd II is considered to be in the style of Closterman and his studio, and that some later portraits of Henry Purcell were based on Closterman's originals. This indicates that his compositions and likenesses were respected and considered worthy of emulation or adaptation.
Closterman's paintings are now held in major public collections, including the National Portrait Gallery in London, Tate Britain, the Royal Collection, and various regional museums in the UK, as well as international institutions like the Prado Museum in Madrid. These works serve as important historical documents, providing visual records of key figures from a transformative period in British history, as well as being examples of late Baroque portraiture. He represents a generation of skilled painters, many of foreign birth like Lely, Kneller, Dahl, and himself, who profoundly shaped the course of British art before the rise of a strong native school of painters like William Hogarth, Joshua Reynolds, and Thomas Gainsborough later in the 18th century.
Conclusion
John Closterman stands as a competent and often compelling portraitist of the late Stuart and early Anne periods in England. From his early training in Germany and formative years in Paris under François de Troy, he developed a robust technique and an understanding of the grandeur expected in aristocratic portraiture. His partnership with John Riley provided a crucial entry into the English art market, and he subsequently forged a successful independent career, capturing the likenesses of some of the most powerful and influential figures of his day, including Queen Anne and the Duke of Marlborough.
His style, a blend of German solidity, French elegance, and English taste, allowed him to compete effectively with contemporaries like Sir Godfrey Kneller. While perhaps not an innovator on the scale of Van Dyck or Rembrandt, Closterman was a significant contributor to the rich tapestry of Baroque portraiture in England. His works remain valuable not only for their artistic merit but also as historical records, offering insights into the personalities and social ambitions of the British elite at a pivotal moment in the nation's history. His legacy is that of a skilled craftsman and a successful professional who left an indelible mark on the art of his adopted country.
