Lucas Achtschellinck stands as a significant, if sometimes overlooked, figure in the rich tapestry of Flemish Baroque art. Born in Brussels, a vibrant artistic hub, on January 16, 1626, and passing away in the same city on May 12, 1699, Achtschellinck carved a distinguished career primarily as a landscape painter and a highly sought-after designer of tapestry cartoons. His work is emblematic of the Brussels school of landscape painting, particularly its fascination with the expansive Sonian Forest, and he played a crucial role in supplying the renowned Brussels tapestry workshops with evocative and lush landscape backgrounds.
Early Life and Artistic Formation in Brussels
Lucas Achtschellinck was baptized in Brussels, the city that would remain his home and the center of his artistic endeavors throughout his life. His initial artistic training commenced on October 26, 1639, when he was registered as an apprentice to Pieter van der Borcht IV. Van der Borcht IV was himself a landscape painter, part of a lineage of artists, and would have provided Achtschellinck with a solid grounding in the fundamentals of landscape depiction as practiced in the Southern Netherlands.
While his formal apprenticeship was with van der Borcht, art historians suggest that Achtschellinck may also have been influenced by, or perhaps even received some instruction from, Lodewijk de Vadder (1605-1655). De Vadder was a leading landscape painter in Brussels, known for his atmospheric and naturalistic depictions of the local woodlands, particularly the Sonian Forest. His style, characterized by a sensitive rendering of light and foliage, would have been a powerful contemporary example for the young Achtschellinck.
After completing his training, Achtschellinck was officially accepted as a master (wijnmeester, literally 'wine master', a term for the son of an existing master) in the Brussels Guild of Saint Luke on October 26, 1657. This recognition marked his full professional entry into the city's artistic community, allowing him to take on his own commissions and apprentices. Two years later, in 1659, Lucas Achtschellinck married Anna Parijs. The wedding ceremony was notably officiated by Frans Duchatel, a fellow artist primarily known as a figure and portrait painter, indicating Achtschellinck's integration into the broader artistic and social circles of Brussels.
The Brussels Landscape Tradition and the Sonian Forest School
Achtschellinck’s career unfolded within a specific and thriving local tradition: the Brussels school of landscape painting. This school, while part of the broader Flemish Baroque, had its own distinct characteristics, largely shaped by the geographical proximity and artistic fascination with the Forêt de Soignes, or Sonian Forest. This vast ancient woodland, stretching to the southeast of Brussels, provided an inexhaustible source of inspiration for generations of artists.
Painters like Jacques d'Arthois (1613-1686), a slightly older contemporary and arguably the most famous exponent of this group, along with Lodewijk de Vadder and later Cornelis Huysmans (1648-1727), were key figures in what is often informally termed the "Sonian Forest School." These artists specialized in depicting the dense, undulating terrain, majestic trees, and winding paths of the forest. Their works often convey a sense of immersive nature, with a focus on the textures of bark, the play of light through leaves, and the deep, receding perspectives of woodland scenes. Other notable landscape painters from this milieu included Abraham Govaerts (1589-1626), whose career predated Achtschellinck's but set a precedent, and Adriaen Frans Boudewyns (1644-1711), a younger contemporary whose style showed affinities with Achtschellinck's.
Achtschellinck fully embraced this tradition. His landscapes are typically characterized by their lush, verdant foliage, often rendered in rich greens and earthy browns. He excelled at creating a sense of depth and complexity in his woodland scenes, with carefully arranged trees and undergrowth leading the viewer's eye into the composition. His works often possess a strong decorative quality, which made them particularly suitable for both large-scale paintings and tapestry designs.
Achtschellinck's Artistic Style and Development
While firmly rooted in the Brussels tradition, Achtschellinck's style evolved. His earlier works often show a robust, somewhat rustic quality, emphasizing the wildness and density of the forest. He demonstrated a keen ability to capture the varied textures of nature, from the rough bark of ancient oaks to the delicate tracery of leaves against the sky. His palette was typically rich and sonorous, with a particular fondness for deep greens, browns, and ochres, enlivened by touches of blue in the distant sky or water.
Later in his career, Achtschellinck's style appears to have absorbed influences from the more classical and idealized landscapes that were becoming fashionable across Europe, partly due to the influence of French artists like Claude Lorrain and Nicolas Poussin, and Italianate Flemish painters who had worked in Rome, such as Paul Bril (1554-1626) much earlier, or even the landscape backgrounds in the grand compositions of Peter Paul Rubens (1577-1640). This shift is discernible in a tendency towards more structured compositions, a slightly lighter palette at times, and a greater emphasis on atmospheric perspective to create a sense of expansive vistas, even within woodland settings. However, he never fully abandoned the inherent Flemish love for detailed observation of nature.
His paintings are often characterized by a dynamic interplay of light and shadow, with sunlight filtering through the canopy to illuminate clearings or highlight specific trees. This mastery of light contributed to the vibrancy and depth of his scenes. While primarily a landscape specialist, the figures in his paintings were often added by other artists, a common collaborative practice in the 17th century. These "staffage" figures, though small, helped to animate the scenes and provide a narrative or genre element.
Representative Works in Painting
Attributing specific works solely to Achtschellinck can sometimes be challenging due to the collaborative nature of painting workshops and the prevalence of studio copies or works by followers. However, several paintings are confidently attributed to him and showcase his characteristic style.
One such example is "A Wooded Landscape with a Path to a House." This work likely exemplifies his mature style, depicting a dense forest scene with a winding path leading towards a rustic dwelling nestled among the trees. The composition would typically draw the viewer in, with towering trees framing the view and a careful rendering of foliage and undergrowth. The play of light filtering through the leaves would be a key feature, creating a sense of depth and atmosphere. Such scenes were popular for their ability to evoke the tranquility and immersive quality of nature.
Another notable, though perhaps more generically titled, work mentioned in sources is "La conversation aux abords de la cascade sur lquisitions animé" (The Conversation near the Waterfall with Animated Figures). This title suggests a more dynamic scene, incorporating a waterfall – a feature that allowed painters to explore the movement of water and its reflective qualities – and "animated figures," likely added by a collaborator, providing a focal point or narrative element within the expansive landscape. The inclusion of a cascade would offer Achtschellinck the opportunity to demonstrate his skill in depicting varied natural textures, from rock formations to rushing water and surrounding vegetation.
His oeuvre also includes paintings for ecclesiastical settings. For instance, records indicate he produced works for the St. Michael's Church in Brussels in 1659 and 1662. These were likely large-scale pieces, possibly with religious narratives set within expansive landscapes, a format that allowed him to display his skills to a wider public.
Achtschellinck's Crucial Role in Tapestry Design
Beyond his easel paintings, Lucas Achtschellinck made a highly significant contribution to the Brussels tapestry industry, which was one of the city's most important economic and artistic assets. In the 17th century, Brussels was the leading center for luxury tapestry production in Europe, exporting its magnificent wall hangings to courts and aristocratic residences across the continent.
Achtschellinck was frequently commissioned to design the "cartoons" – full-scale painted models – for the landscape portions of these tapestries. His skill in creating lush, decorative, and spatially complex woodland scenes was perfectly suited to the medium of tapestry, which excelled at rendering rich textures and vibrant colors. These landscape backgrounds, often referred to as "verdures" when predominantly featuring foliage, were an essential component of narrative tapestry series.
He is known to have collaborated with other artists who specialized in figure design. For example, he worked with Lodewijk van Schoor (c. 1650-1702), a figure and history painter, on several important tapestry series. One such series was the "Donatian" series. Another prominent collaboration was the "Perseus and Andromeda" series, for which Achtschellinck likely provided the dramatic landscape settings for the mythological narrative depicted by van Schoor. These tapestries were woven in the renowned workshop of Jan van Borcht.
He also contributed to a series depicting "The Four Seasons Presenting Gifts to Apollo," again likely in collaboration with van Schoor or another figure specialist. In these grand compositions, Achtschellinck's landscapes would have provided opulent and evocative backdrops for the allegorical or mythological figures, enhancing the overall richness and narrative power of the tapestries. His ability to create varied and interesting natural environments was crucial for these multi-panel series, ensuring visual appeal across numerous hangings. The verdant forests, rolling hills, and distant vistas he designed became integral to the splendor of these woven masterpieces. Other tapestry weavers and designers active in this period included members of the Reydams and Leyniers families, further highlighting the collaborative and specialized nature of this industry.
Collaborations, Influence, and Workshop Practice
The collaborative nature of art production in the 17th century is evident in Achtschellinck's career. As mentioned, figure painters often added staffage to his landscapes. One documented collaboration is with Hiëronymus Janssens, also known as "Den Danser" (1624-1693), a painter known for his elegant genre scenes of figures in interiors or garden settings. Their joint work would have combined Janssens' refined figures with Achtschellinck's evocative landscapes.
Achtschellinck also played a role in educating the next generation of artists. Between 1659 and 1686, he is recorded as having taken on eight apprentices in his workshop. This indicates a busy and productive studio. One of his most notable pupils was Théobald Michau (1676-1765). Michau, born much later than Achtschellinck, would have received his training towards the end of Achtschellinck's career. He went on to become a successful painter in his own right, known for his landscapes and genre scenes that often echoed the style of earlier masters like Jan Brueghel the Elder (1568-1625), but also showed the influence of his training with Achtschellinck, particularly in the depiction of wooded scenes. Michau himself became a master in the Brussels Guild in 1698 and later worked in Antwerp.
The influence of earlier landscape pioneers like Gillis van Coninxloo (1544-1607), who was instrumental in developing the forest landscape genre, can be seen as a foundational element upon which Achtschellinck and his contemporaries built. While Achtschellinck's style was distinctly of the High Baroque, the tradition of detailed and immersive woodland scenes had deep roots in Flemish painting. Even the great Peter Paul Rubens, though primarily a figure painter, produced powerful and innovative landscapes that had a profound impact on Flemish art, emphasizing dynamism and atmospheric effects. Achtschellinck's work, while perhaps less revolutionary than Rubens's, represented a consistent and high-quality application of Baroque principles to the established Brussels landscape tradition. Other contemporaries in landscape painting included Gaspar de Witte (1624-1681), who worked in Antwerp but shared some stylistic affinities.
Later Career, Death, and Legacy
Lucas Achtschellinck remained active in Brussels throughout his long career. His consistent output of paintings and tapestry designs solidified his reputation as one of the leading landscape specialists in the city. He continued to receive commissions and manage his workshop, contributing to the artistic vibrancy of Brussels until his death on May 12, 1699. He was buried in the Church of St. Mary Magdalene in Brussels, a testament to his standing within the community.
His legacy lies in his significant contribution to the Brussels school of landscape painting and his vital role in the tapestry industry. Achtschellinck's works are characterized by their lushness, decorative appeal, and skillful rendering of the Sonian Forest, which he, along with artists like Jacques d'Arthois and Lodewijk de Vadder, helped to immortalize in art. His landscapes provided the essential scenic backdrops that enhanced the narrative and visual splendor of countless Brussels tapestries, which were prized possessions in the grandest homes of Europe.
While perhaps not as widely known today as some of his Antwerp contemporaries, Lucas Achtschellinck was a highly respected and successful artist in his time. His dedication to the landscape genre, his prolific output, and his influence on pupils like Théobald Michau ensure his place in the history of Flemish Baroque art. His paintings and the tapestries designed from his cartoons continue to be appreciated for their beauty and their evocative portrayal of the natural world as seen through the eyes of a 17th-century Brussels master. His work serves as a vital link in understanding the specific character of landscape art in Brussels during a period of extraordinary artistic production.
