The annals of art history are rich with families who have passed down their talents through generations, creating dynasties that shaped the visual culture of their times. Among these, the Mytens (or Mijtens / Meytens) family, of Flemish and Dutch origin, stands out for its prolific output, particularly in the realm of portraiture, spanning several centuries and courts across Europe. While the name "Martinus Mytens" appears at different junctures, referring to distinct individuals, this exploration will primarily focus on Martinus Mytens the Elder (1648–1736), a Dutch-born painter who found prominence in Sweden, while also navigating the contributions of other notable family members to provide a fuller picture of their collective artistic impact. The complexities arising from shared names and overlapping timelines necessitate a careful approach to distinguish their individual careers and achievements.
Martinus Mytens the Elder: A Dutch Painter in the Swedish Court
Born in The Hague in 1648, Martinus Mytens, often referred to as Martinus Mytens the Elder or Martin van Meytens the Elder to distinguish him from his even more famous son, emerged from a rich artistic environment in the Netherlands. The Dutch Golden Age was in full swing, with masters like Rembrandt van Rijn, Frans Hals, and Johannes Vermeer defining new heights in realism, psychological depth, and the depiction of light. While Mytens the Elder's early training isn't exhaustively documented, artists in The Hague at the time were often associated with painters like Michiel Jansz. van Mierevelt and Jan Anthonisz. van Ravesteyn, who were leading portraitists. It is plausible that the young Mytens was exposed to their meticulous style and emphasis on capturing a sitter's likeness with sober dignity.
His career, however, took a significant turn when he relocated to Sweden. In an era where artists often sought patronage beyond their native lands, Mytens established himself as a court portrait painter in Stockholm. This role was crucial, as court painters were responsible for crafting the official image of the monarchy and aristocracy, producing works that conveyed power, status, and lineage. His tenure in Sweden was substantial, and his portraits would have contributed to the visual narrative of the Swedish elite during the late 17th and early 18th centuries.
The artistic environment in Sweden at the time was also vibrant, with figures like David Klöcker Ehrenstrahl, a German-Swedish painter, dominating the court scene with his grand Baroque style. Mytens would have operated within this context, likely adapting his Dutch-honed skills to the tastes and demands of the Swedish court. His son, Martinus Mytens the Younger (Martin van Meytens, 1695–1770), would go on to achieve even greater international fame, becoming the preferred court painter to Empress Maria Theresa in Vienna, a testament to the artistic lineage fostered by his father.
The Mytens Artistic Lineage: Unraveling the Threads
The Mytens family's artistic history extends further back and includes several other notable painters, whose lives and works are sometimes conflated due to shared names and the passage of time. Understanding these figures is essential to appreciating the broader Mytens legacy.
Daniel Mytens the Elder: A Precursor at the English Court
One of the most significant early figures in the Mytens dynasty was Daniel Mytens the Elder (c. 1590 – c. 1647/48). Born in Delft, he trained in The Hague, possibly under Van Mierevelt. Around 1618, Daniel Mytens moved to England, where he quickly found favor. He became the official court painter to King James I and, subsequently, to King Charles I. His portraits from this period are characterized by a refined elegance, a keen attention to the texture of fabrics, and a somewhat melancholic air that prefigured the work of his successor, Anthony van Dyck.
Daniel Mytens produced numerous portraits of the English aristocracy. Among his most celebrated works is the "Portrait of King Charles I." One notable anecdote suggests that some of his works, such as a self-portrait (c. 1630), were presented directly to the King, indicating a high level of royal esteem. His depiction of "Henry de Vere, 18th Earl of Oxford" is another key work, considered one of the most important court portraits of the Jacobean era. It is recorded that a portrait of Henry de Vere by Mytens was sold at the Wellington auction in 1685 for a significant sum, highlighting its perceived value.
Daniel Mytens's position as the premier court painter in England was eventually challenged and then eclipsed by the arrival of the Flemish master Anthony van Dyck in 1632. Van Dyck brought a more flamboyant and psychologically penetrating style that captivated the English court. While Mytens continued to work, Van Dyck's ascendancy marked a shift in royal preference. Despite this, Daniel Mytens's contribution to English portraiture was substantial, laying a foundation for the sophisticated court portrait tradition that Van Dyck would further develop. His influence can also be seen in the work of contemporary English painters like Cornelius Johnson (Cornelis Janssens van Ceulen).
Johannes (Jan) Mytens: A Hague Contemporary
Another important member of the family was Johannes (Jan) Mytens (c. 1614 – 1670), who was active primarily in The Hague. He was known for his elegant portraits of individuals and groups, often set in idyllic landscapes, a style that blended portraiture with pastoral elements. His "Portrait of Wolfert van Brederode" is often cited as a representative work, showcasing his skill in capturing both likeness and the luxurious attire of his sitters. Jan Mytens was a contemporary of artists like Adriaen Hanneman, who also brought a Van Dyckian elegance to Dutch portraiture. His work reflects the refined tastes of the Dutch elite during the mid-17th century.
Martinus Mytens of Naples: An Earlier namesake
Adding to the complexity is an earlier artist, also named Martinus Mytens (or Martino Mytens/Martens), who was active in Naples around the late 16th and early 17th centuries (fl. c. 1570s – d. c. 1601 or slightly later, with some sources suggesting birth around 1550s/1560s and activity into the 1610s). This Martinus was of Flemish or Dutch origin and is documented as having painted an altarpiece, "The Assumption of the Virgin," for the church of San Severo Maggiore (also known as San Severo alla Sanità or San Severo fuori le mura) in Naples.
This commission is particularly interesting as it occurred during the Counter-Reformation, a period when the Catholic Church actively used art to reinforce its doctrines and inspire piety. The contract for this altarpiece reportedly stipulated the use of high-quality materials and pigments and made reference to works by other Northern artists active in Italy, such as Cornelis Smet and Dirck Hendricksz. Centen (also known as Teodoro d'Errico), indicating a network of Netherlandish painters in Naples. This Martinus Mytens's style would have blended his Northern training with the prevailing Italian, particularly Neapolitan, artistic currents, which were then being shaped by figures like Caravaggio (though Caravaggio's main Neapolitan periods were slightly later, his influence was pervasive). The art scene in Naples at the time also included local masters such as Fabrizio Santafede.
The Theme of the "Assumption of the Virgin" in Art: A Broader Context
The "Assumption of the Virgin" was a popular subject in Christian art, particularly after the Council of Trent. The story of the Virgin Mary being taken up, body and soul, into heaven, offered artists a magnificent opportunity for dramatic compositions and expressions of divine glory. While the Martinus Mytens active in Naples contributed to this tradition, many other renowned artists tackled this theme, sometimes amidst controversy or unique circumstances.
Titian's monumental "Assumption of the Virgin" (1516-1518) for the Basilica di Santa Maria Gloriosa dei Frari in Venice was revolutionary for its dynamic composition, vibrant color, and the sheer scale of the figures. It was met with some initial consternation due to its bold departure from more static, traditional depictions, but soon became highly acclaimed.
Peter Paul Rubens, a Flemish contemporary of Daniel Mytens, also painted several powerful versions of the Assumption, characterized by his typical Baroque dynamism, rich colors, and swirling masses of figures. His interpretations emphasized the triumphant and emotional aspects of the event.
Caravaggio's "Death of the Virgin" (rather than Assumption, though related) was famously rejected by the patrons for its stark realism, particularly the depiction of Mary as an ordinary, deceased woman, allegedly modeled on a drowned prostitute. This highlights the tensions that could arise between artistic innovation and traditional religious sensibilities.
Later, artists like Nicolas Poussin, a French classicist, also depicted the Assumption, but with a more ordered and restrained composition, reflecting his intellectual approach to painting. The theme continued to inspire artists for centuries, each bringing their own stylistic and theological interpretations. Even the story of Sandro Botticelli being accused of heresy for an "Assumption" painting, though now understood to be a misattribution concerning a work by Francesco di Giovanni Botticini, points to the theological scrutiny such subjects could attract. Similarly, Raphael's "Coronation of the Virgin" (Oddi Altarpiece), which includes the Assumption in its lower register, showcases his harmonious and idealized style.
The controversies were not limited to theological interpretations. Sometimes, the creation or reception of these works involved disputes over artistic merit or execution. For instance, the unveiling of Titian's "Assumption" reportedly saw an envoy of Emperor Charles V questioning its quality, only to offer to buy it if the friars were dissatisfied, thus underscoring its eventual triumph.
Artistic Styles and Historical Evaluation of the Mytens Clan
The Mytens family, across its various prominent members, generally adhered to a high standard of craftsmanship in portraiture. Their styles evolved with the times and their geographical locations, but a common thread of careful observation and a desire to convey the status of their sitters often persisted.
Daniel Mytens in England brought a Netherlandish precision to the Stuart court. His figures are often depicted full-length, with an emphasis on the rich details of their attire – lace, silk, and jewels are rendered with meticulous care. There's a certain stiffness or formality in his poses, characteristic of early 17th-century court portraiture, but also a quiet dignity and psychological presence. His work provided a crucial link between the earlier Tudor and Jacobean portrait styles of artists like Marcus Gheeraerts the Younger and the more fluid, psychologically rich Baroque style introduced by Van Dyck.
Johannes Mytens in The Hague developed a more relaxed and elegant style, often incorporating landscape backgrounds and a softer, more painterly touch. His group portraits and individual likenesses reflect the prosperity and refined culture of the Dutch Republic in its golden era. He was adept at capturing a sense of graceful informality, even within the conventions of formal portraiture.
Martinus Mytens the Elder (1648-1736), working in Sweden, would have carried forward the Dutch tradition of verisimilitude. While specific details of his stylistic evolution in Sweden are less widely documented than those of his son or Daniel Mytens, his role as a court painter implies a capacity to produce dignified and representative likenesses that met the approval of a discerning clientele. His work would have been influenced by the prevailing Baroque tastes of the Swedish court, possibly showing a greater emphasis on grandeur and symbolic attributes than his Dutch contemporaries who catered to a more bourgeois market.
His son, Martinus van Meytens the Younger (1695-1770), who rose to great prominence in Vienna, developed a highly polished, Rococo-influenced style. He was incredibly prolific, creating numerous state portraits of Empress Maria Theresa, her family, and the Austrian nobility. His works are characterized by their exquisite detail, smooth finish, and the idealized yet recognizable portrayal of his subjects. He often employed a large workshop to meet the demand for his portraits, a common practice for successful court painters like Hyacinthe Rigaud in France.
The historical evaluation of the Mytens family places them as significant contributors to the tradition of European portraiture. Daniel Mytens is recognized for his important role in pre-Van Dyckian England. Johannes Mytens is a respected figure within Dutch Golden Age painting. Martinus Mytens the Elder, while perhaps overshadowed by his more famous son, played a key part in the artistic life of the Swedish court and was instrumental in the continuation of the family's artistic legacy. Martinus van Meytens the Younger stands as one of the preeminent court portraitists of the Rococo era in Central Europe.
Contemporaries, Collaborations, and Artistic Circles
The Mytens painters did not operate in a vacuum. They were part of vibrant artistic communities, influenced by their teachers, peers, and rivals.
Daniel Mytens's early training in The Hague likely involved contact with Michiel Jansz. van Mierevelt and Jan Anthonisz. van Ravesteyn. These artists were masters of the precise, detailed style of Dutch portraiture. In England, his main contemporary and eventual successor was Anthony van Dyck. He would also have known other artists at the Stuart court, including miniaturists like John Hoskins or foreign visitors.
The Martinus Mytens active in Naples would have been part of a community of Netherlandish artists working in Italy, drawn by the opportunities for patronage and the chance to study Italian art. His contract referencing Smet and Centen (Teodoro d'Errico) confirms this network. He would have been aware of, if not directly interacting with, Italian painters in the bustling artistic center of Naples.
Martinus Mytens the Elder (1648-1736) in Sweden would have been contemporary with David Klöcker Ehrenstrahl, the leading figure in Swedish Baroque painting. The court environment would have fostered both competition and potential exchange of ideas. His Dutch background meant he carried the legacy of painters like Gerard ter Borch or Caspar Netscher in terms of refined execution, adapted to a different cultural setting.
His son, Martinus van Meytens the Younger, in Vienna, became the dominant portrait painter. His contemporaries in the Habsburg lands included painters like Johann Georg Platzer (known for genre scenes) or Paul Troger (a leading fresco painter). His style, however, was very much in line with international Rococo portraiture, comparable to artists like Jean-Marc Nattier in France.
The provided information mentions that a "Martinus I Mytens" may have had training connections with Michiel van Mierevelt and Jan Anthonisz. van Ravesteyn in The Hague. This aligns well with the known biography of Daniel Mytens, and it's plausible that other Mytens family members training in The Hague would have moved in similar circles. However, specific collaborative works between these artists are not widely documented, with relationships often being those of master-pupil or studio assistant rather than full co-authorship on individual canvases.
Conclusion: A Tapestry of Talent
The Mytens family presents a fascinating case study of an artistic dynasty that successfully navigated the changing tastes and political landscapes of Europe for over a century and a half. From the early endeavors of figures like the Martinus Mytens in Naples, through the distinguished court career of Daniel Mytens in England, the refined work of Johannes Mytens in The Hague, to the Swedish service of Martinus Mytens the Elder, and culminating in the international renown of Martinus van Meytens the Younger in Vienna, the name Mytens became synonymous with skilled portraiture.
While the overlapping names, particularly "Martinus Mytens," can create confusion, a closer examination reveals distinct artistic personalities, each contributing to the rich tapestry of European art history. Martinus Mytens the Elder (1648-1736) forms a crucial link in this chain, upholding the family's reputation in a new cultural context and fathering a son who would carry the name to even greater heights. Their collective legacy is a testament to their adaptability, technical skill, and their ability to capture the likeness and spirit of their times, ensuring their enduring place in the galleries and art historical narratives of Europe. The meticulous rendering of character and costume, the dignified portrayal of royalty and nobility, and the sheer volume of their output solidify the Mytens family's importance in the story of portrait painting.
