Justus van Huysum the Elder stands as a significant, if sometimes overshadowed, figure in the rich tapestry of Dutch Golden Age art. Born in the bustling artistic hub of Amsterdam in 1659, he carved out a career as a painter specializing primarily in landscapes and meticulously detailed still lifes, particularly of flowers and fruit. His life, spanning until his death in Amsterdam in 1716 at the age of 57, coincided with a period of immense artistic production and innovation in the Netherlands. While his own works are appreciated for their skill, he is also notably remembered as the father and first teacher of several sons who became artists, most famously Jan van Huysum, who would go on to become one of the most celebrated flower painters of the 18th century.
Early Life and Artistic Formation in Amsterdam
Justus van Huysum, often referred to as Justus van Huysum I to distinguish him from his son of the same name, entered a world where art was not just a luxury but an integral part of Dutch culture and commerce. Amsterdam, in the latter half of the 17th century, was a global center of trade, finance, and art. This environment provided ample opportunities for artists, with a burgeoning middle class eager to adorn their homes with paintings.
While specific details about his earliest training are somewhat scarce, it is widely accepted that he was a pupil of Nicolaes Berchem (also known as Claes Pietersz Berchem). Berchem was a highly versatile and prolific Dutch Golden Age painter known for his idyllic Italianate landscapes, often populated with pastoral figures and animals. This tutelage would have provided Justus with a strong foundation in landscape composition, the rendering of light, and the depiction of natural elements, skills that would become evident in his own landscape works. The influence of Berchem's pastoral and classical leanings can be subtly traced in some of Huysum's approaches to landscape.
The artistic milieu of Amsterdam was incredibly vibrant. Painters like Rembrandt van Rijn had already left an indelible mark, and contemporaries such as Johannes Vermeer (though primarily active in Delft) and Frans Hals (in Haarlem) were shaping the course of Dutch art. In landscape painting, artists like Jacob van Ruisdael and Meindert Hobbema were setting high standards with their evocative and naturalistic depictions of the Dutch countryside. For still life, painters such as Willem Kalf were renowned for their opulent "pronkstilleven" (ostentatious still lifes), while others specialized in more modest arrangements. Justus van Huysum the Elder would navigate this competitive landscape, finding his niche.
Artistic Style, Themes, and Oeuvre
Justus van Huysum the Elder developed a style characterized by careful observation, detailed execution, and often a classical sensibility. His works, whether landscapes or still lifes, were described as "laborious," indicating the meticulous effort and precision he invested in them. He worked in both oils and, notably, in refined watercolors, a medium that allowed for delicate gradations and luminous effects, particularly suited for floral subjects.
Landscapes:
His landscape paintings often featured serene, sometimes idealized, views. These could include wooded scenes, riverbanks, or lake views, sometimes incorporating classical ruins or pastoral figures, echoing the Italianate tradition popularized by artists like his teacher Berchem, and earlier figures such as Jan Both or Cornelis van Poelenburch. The Louvre in Paris, for instance, holds landscape works by him, including depictions of lake views with carefully rendered trees. These landscapes aimed for a harmonious balance and a pleasing aesthetic, rather than the more dramatic or moody naturalism of some of his contemporaries.
Still Lifes: Flowers and Fruit:
While proficient in landscapes, Justus van Huysum the Elder also gained recognition for his flower and fruit still lifes. This genre was immensely popular in the Netherlands, valued for both its decorative qualities and its potential for symbolic meaning (vanitas themes, the transience of life, the bounty of nature or divine creation). His floral pieces were praised for their detail, though perhaps not reaching the same level of widespread fame as those of his son Jan. He would arrange flowers in vases, often depicting a variety of species with botanical accuracy. These compositions were typically elegant and balanced, showcasing his skill in rendering textures, colors, and the delicate forms of petals and leaves. His fruit pieces similarly displayed a keen eye for detail and a pleasing arrangement of natural bounty.
It's noted that his works sometimes incorporated biblical or classical themes, which could manifest in the allegorical content of his still lifes or the subject matter of specific landscapes. This classical leaning aligned with a broader trend in Dutch art that sought to elevate genres like landscape and still life through association with historical and mythological narratives.
Beyond easel paintings, it is suggested that Justus van Huysum the Elder may have also engaged in decorative painting, possibly creating works for screens, overdoors, or other architectural elements. This was not uncommon for artists of the period, as it provided additional avenues for income and artistic expression. He was also reportedly involved in art dealing, a common practice among Dutch artists, including Vermeer and Rembrandt, which provided financial stability and kept them connected to the evolving tastes of collectors.
The Huysum Dynasty: A Family of Painters
A significant part of Justus van Huysum the Elder's legacy lies in his role as the patriarch of an artistic family. He married and had several sons who followed him into the profession, creating a veritable Huysum dynasty of painters.
Jan van Huysum (1682-1749): The Celebrated Son
The most famous of his sons was Jan van Huysum. Born in Amsterdam in 1682, Jan initially learned from his father. He quickly surpassed his father in the specialized field of flower painting, developing an unparalleled technique that brought him international fame. Jan's flower pieces are characterized by their luminous colors, incredibly detailed rendering, complex compositions, and often lighter backgrounds than were typical of earlier 17th-century flower painters like Ambrosius Bosschaert the Elder or Balthasar van der Ast.
Jan van Huysum was known for his meticulous approach, often waiting for specific flowers to be in season to paint them from life. His arrangements were typically asymmetrical and dynamic, featuring a profusion of blooms, often including exotic and rare species, alongside insects like butterflies and ants, and dewdrops that added to the illusion of reality. His works were highly sought after by wealthy patrons and collectors across Europe, including royalty and aristocracy such as the Duke of Orleans and William VIII, Landgrave of Hesse-Kassel. Notable works by Jan include "Flowers in a Vase" (Wallace Collection, London), which showcases over thirty flower species, "Vase with Flowers" (Rijksmuseum, Amsterdam), and numerous other exquisite still lifes of flowers and fruit held in major museums worldwide. He is often considered the pinnacle of 18th-century Dutch flower painting, influencing subsequent generations.
Justus van Huysum the Younger (c. 1684/1685–1707): A Promising Talent Cut Short
Another son, Justus van Huysum the Younger (also known as Justus II), was born around 1684 or 1685. He, too, became a painter, but his specialization diverged from that of his father and elder brother. Justus the Younger was known primarily for his battle scenes. These paintings required a different set of skills, focusing on dynamic action, the depiction of horses and soldiers, and dramatic compositions.
Sources describe him as a young man of "great spirit and application," suggesting talent and dedication. Unfortunately, his career was tragically short; he died young in 1707, at the age of only about 21 or 22. This premature death prevented him from achieving the widespread recognition that his brother Jan would later attain. While battle scenes were his main focus, some sources attribute flower paintings to him, such as "Flowers in an Urn" (National Gallery of Art, Washington D.C.) and "Bouquet of Flowers" (Los Angeles County Museum of Art). It is possible he painted in this genre as well, perhaps influenced by his family, or there might be some historical confusion with his father or brother Jan, given the family's strong association with floral art. His works are found in collections like the National Gallery of Art in Washington D.C., the Los Angeles County Museum of Art, and historically in prominent private collections like those of the Hope and Ashburton families in England.
Jacob van Huysum (c. 1687/1689–1740)
Jacob van Huysum, another son of Justus the Elder, also became a painter. He was born around 1687-1689. Jacob largely followed in the footsteps of his father and brother Jan, specializing in flower and fruit still lifes. He eventually moved to England, where he worked for patrons, including Sir Robert Walpole, for whom he copied works by Jan van Huysum and also created original compositions. While competent, his work is generally not considered to have reached the same artistic heights as that of his brother Jan.
Michiel van Huysum (1703-1777)
Though technically a grandson of Justus the Elder (son of Jan), Michiel van Huysum continued the family tradition into the later 18th century, primarily known for his drawings of flowers and fruit in the style of his father, Jan.
The Huysum workshop, likely headed by Justus the Elder, would have been a place of learning and production. It was common for sons to be apprenticed to their fathers, and the shared environment could lead to stylistic similarities, collaborations, or, as seen with Jan, the development of a distinct and even more refined personal style.
Anecdotes, Secrecy, and Reputation
The life and working methods of Justus van Huysum the Elder, and subsequently his son Jan, were subjects of some contemporary comment and later anecdote, painting a picture of artists who were protective of their techniques.
The Guarded Studio: Secretive Methods
Justus van Huysum the Elder was reportedly quite conservative and secretive regarding his painting techniques, particularly his methods for preparing and mixing colors. It is said that he was reluctant to allow students, or even his own sons initially, full access to his studio or knowledge of his processes. This desire to protect trade secrets was not entirely uncommon among artists who had developed unique or highly effective methods that contributed to the quality and appeal of their work. His son Jan inherited this trait, becoming famously secretive about his own techniques, rarely taking pupils and jealously guarding his studio.
The Havermann Affair: A Contentious Tutelage (Relating to Jan, but reflecting family attitudes)
While this anecdote primarily concerns Jan van Huysum, it sheds light on the family's protective attitude towards their artistic methods, likely stemming from Justus the Elder's own practices. Jan briefly took on a female student, Margareta Havermann. However, the relationship soured quickly. According to accounts, Havermann was a talented imitator of Jan's style, and he reportedly became concerned that she was discovering his secrets or that her proficient copies might devalue his own work or be passed off as originals. This led to her dismissal from his studio. This incident underscores the high stakes involved in maintaining artistic preeminence and the value placed on unique technical skill.
The Legend of the Yellow Rose (Relating to Jan, but indicative of meticulousness)
Another story, often told about Jan van Huysum, highlights the extreme dedication to painting from life. It is said that Jan delayed the completion of a commissioned painting for a considerable time because a specific yellow rose he wished to include was not in bloom. He insisted on waiting until the following season when the rose would flower again so he could paint it with perfect accuracy. While this story is associated with Jan, the meticulous, "laborious" approach attributed to Justus the Elder suggests a similar dedication to careful observation in the family.
Later Years and Possible Reclusiveness
Some accounts suggest that Justus van Huysum the Elder became more reclusive in his later years. There is speculation that this might have been partly due to the "dissipated habits" or lifestyle of one of his sons, which may have caused him distress. Such personal matters, combined with an inherently protective nature regarding his art, could have contributed to a more withdrawn demeanor.
The artistic environment of the time was competitive. While artists like Rachel Ruysch and Maria van Oosterwijck were highly successful female flower painters, and painters like Willem van Aelst and Abraham Mignon were also creating exquisite still lifes, the Huysums carved out a distinct and enduring reputation. The desire to maintain a unique selling proposition through secret techniques is understandable within this context.
Contemporaries and Comparisons in the Dutch Art World
To fully appreciate Justus van Huysum the Elder's place, it's useful to consider him alongside his contemporaries.
In Landscape Painting:
His Italianate landscapes, influenced by Berchem, can be seen in the context of artists like Jan Asselijn or Karel Dujardin, who also brought a sunny, southern European sensibility to Dutch art. This contrasted with the more typically "Dutch" landscapes of Jacob van Ruisdael or Meindert Hobbema, whose works often emphasized the specific atmospheric conditions and topography of the Netherlands with a greater sense of naturalism or even melancholy. Huysum's landscapes were generally more serene and classically composed.
In Still Life Painting:
The field of still life was incredibly diverse. "Pronkstilleven" painters like Willem Kalf and Abraham van Beyeren created lavish displays of silverware, exotic fruits, and expensive textiles. Flower painting, as a subgenre, had been established by pioneers like Ambrosius Bosschaert the Elder and Balthasar van der Ast in the early 17th century, known for their somewhat stiffer, encyclopedic arrangements. By Justus the Elder's time, artists like Willem van Aelst were creating more dynamic and elegant floral compositions. Female artists like Rachel Ruysch (a contemporary of Jan van Huysum, but whose career overlapped with Justus the Elder's later years) and Maria van Oosterwijck achieved great fame for their detailed and vibrant flower paintings. Justus van Huysum the Elder's floral works fit within this tradition of detailed, decorative, and often symbolically rich still lifes. His contribution was solid, providing a foundation upon which his son Jan would build to reach unprecedented heights of refinement and popularity. Other notable still life painters of the broader period whose work provides context include Pieter Claesz and Willem Claesz. Heda, masters of the more monochrome "ontbijtjes" (breakfast pieces).
Legacy and Collections
Justus van Huysum the Elder's primary legacy is twofold: his own body of work and his role as the progenitor of an important family of artists, especially his son Jan. While Jan's fame eclipsed his father's, Justus the Elder's contributions as a skilled painter and teacher were foundational.
His works are represented in several significant European museums, a testament to their enduring quality and historical importance:
The Louvre, Paris: Holds examples of his landscape paintings.
Rijksmuseum, Amsterdam: As the premier museum for Dutch Masters, it naturally includes works by the Huysum family, acknowledging Justus the Elder's place.
Pinakothek der Moderne, Munich: This German museum also houses works by him.
Hofmuseum, Vienna (now Kunsthistorisches Museum): Indicates his appeal to imperial and royal collections.
The Hermitage, St. Petersburg: Russian imperial collections were keen acquirers of Dutch art.
Kunsthalle Hamburg: Another major German museum with holdings of his work.
National Gallery of Denmark (Statens Museum for Kunst), Copenhagen.
Staatliche Kunsthalle Braunschweig (Herzog Anton Ulrich Museum): Specifically noted for holding his flower and fruit still lifes.
Beyond these public institutions, his paintings are also found in various private collections, particularly in the United Kingdom, where Dutch art was highly prized by collectors in the 18th and 19th centuries.
The enduring appeal of the Huysum family's art, particularly the floral still lifes, lies in their extraordinary technical skill, their vibrant beauty, and their ability to capture the ephemeral nature of flowers with almost photographic precision, long before photography existed. Justus van Huysum the Elder, through his own art and his cultivation of the next generation, played a crucial role in this tradition.
Conclusion: An Enduring Contribution to Dutch Art
Justus van Huysum the Elder was a respected and skilled artist of the Dutch Golden Age, contributing to the rich traditions of both landscape and still life painting. His meticulous technique, classical sensibilities, and dedication to his craft earned him a place among the notable painters of his era. While his fame may have been somewhat eclipsed by that of his extraordinarily talented son, Jan van Huysum, Justus the Elder's role as a foundational figure—both as an artist in his own right and as the teacher and father who nurtured a dynasty of painters—is undeniable. His works, preserved in museums and collections across the world, continue to be admired for their careful execution and quiet beauty, offering a window into the artistic excellence of 17th and early 18th-century Amsterdam. He remains a key figure for understanding the development of Dutch still life and the familial transmission of artistic skill during this remarkable period in art history.
