Paulus van Somer I (c. 1576/1578 – 1621/1622) stands as a significant, if sometimes overlooked, figure in the transition of portraiture in England from the more rigid Tudor and early Jacobean styles towards a more naturalistic and psychologically insightful approach. A Flemish artist by birth and training, his arrival in England marked a notable infusion of continental sophistication into the British art scene. His tenure as a favored painter to the royal family, particularly King James I and Queen Anne of Denmark, cemented his reputation and left an indelible mark on the visual record of the era.
Early Life and Netherlandish Roots
Born in Antwerp around 1576 or 1578, Paulus van Somer emerged from one of the most vibrant artistic centers in Europe. Antwerp, during the late 16th and early 17th centuries, was a crucible of artistic innovation, home to masters like Peter Paul Rubens, Anthony van Dyck (though Van Dyck was younger and would rise to prominence slightly later), and Jacob Jordaens. While details of Van Somer's specific training in Antwerp are not extensively documented, it is evident from his later work that he was thoroughly schooled in the Flemish tradition, which emphasized meticulous detail, rich textures, and a growing interest in capturing the individual character of the sitter.
His elder brother, Bernard van Somer, was also a painter, and it's plausible they shared some early artistic experiences. Before his definitive move to England, Paulus van Somer is believed to have traveled and worked in the Northern Netherlands, possibly in Amsterdam or Leiden, between approximately 1601 and 1616. This period would have exposed him to the burgeoning Dutch Golden Age of painting, with artists like Frans Hals beginning to make their mark with lively and characterful portraits, and the early work of Rembrandt van Rijn on the horizon. This exposure to diverse Netherlandish styles likely contributed to the refinement of his technique and his ability to adapt to different patronal demands.
The socio-political climate of the Low Countries, marked by the Eighty Years' War, often prompted artists to seek patronage and stability elsewhere. England, under the relatively peaceful reign of James I, became an attractive destination for many skilled artisans and artists from the continent, continuing a trend seen with earlier masters like Hans Holbein the Younger at the court of Henry VIII.
Arrival in England and Royal Patronage
Paulus van Somer is recorded as arriving in England by 1616, settling in London. He quickly gained favor within aristocratic circles and, most importantly, at the royal court. The English court had a long tradition of employing foreign painters for prestigious commissions, recognizing the advanced skill and fashionable styles they brought. Artists like Marcus Gheeraerts the Younger and John de Critz the Elder, both of Netherlandish origin, were already established figures, but Van Somer brought a fresh perspective.
His sophisticated style, characterized by a more relaxed and naturalistic portrayal of sitters compared to the somewhat stiffer, iconographic representations prevalent in earlier English portraiture, appealed greatly to Queen Anne of Denmark. She became one of his most important patrons, and he was appointed as her official "Picture Maker" or court painter. This appointment provided him with unparalleled access and a steady stream of commissions from the highest echelons of society.
King James I also sat for Van Somer, and these royal portraits were crucial in disseminating the royal image and projecting an aura of majesty and authority. Van Somer's ability to combine regal dignity with a sense of the sitter's personality was a key factor in his success. He effectively navigated the expectations of courtly representation, which demanded a balance between idealization and verisimilitude.
Artistic Style and Characteristics
Paulus van Somer's artistic style is distinguished by several key characteristics that set him apart from many of his English-based contemporaries and marked an evolution in British portraiture.
Naturalism and Elegance: Van Somer introduced a greater degree of naturalism and psychological depth. While his portraits retain the requisite formality and status symbols of courtly art, there is often a softer, more approachable quality to his sitters. He moved away from the flat, heavily patterned surfaces seen in the work of some earlier artists, employing more subtle modeling and a better understanding of anatomy to create a sense of three-dimensionality. His figures possess an inherent elegance, conveyed through posture, gesture, and the graceful rendering of drapery.
Handling of Light and Texture: A hallmark of his Flemish training is his meticulous attention to texture. He excelled in depicting the sheen of silk, the richness of velvet, the intricate patterns of lace, and the gleam of jewels. This was achieved through a refined brush technique and a sophisticated use of light and shadow (chiaroscuro), which, while not as dramatic as that of Caravaggio or his followers, was effective in creating volume and highlighting important features. His lighting is generally even and clear, illuminating the sitter and their luxurious attire.
Composition and Setting: Van Somer often favored full-length or three-quarter length formats, which allowed for the inclusion of elaborate costumes and symbolic accessories. While some portraits feature plain, dark backgrounds that focus attention entirely on the sitter, others incorporate elements of interior settings, such as richly draped curtains, Turkey carpets, or glimpses of landscapes through windows. These settings added to the grandeur and context of the portrait. His compositions are generally balanced and dignified, reinforcing the status of his subjects.
Color Palette: His palette was rich and varied, capable of capturing the vibrant hues of courtly fashion. He demonstrated skill in harmonizing colors and using them to enhance the overall impact of the portrait. The deep reds, blues, golds, and blacks common in aristocratic dress of the period are rendered with vibrancy and depth.
Notable Works
Several key works exemplify Paulus van Somer's style and his contribution to Jacobean art.
Queen Anne of Denmark in Hunting Costume (1617): This is perhaps his most famous and iconic work, now in the Royal Collection Trust. The portrait depicts the Queen full-length, dressed in a striking, fashion-forward hunting outfit, accompanied by her dogs and an African servant, set against a landscape backdrop that includes Oatlands Palace. The painting is remarkable for its lively composition, the Queen's confident and somewhat informal pose (for a royal portrait), and the exquisite rendering of her embroidered silk costume. It showcases Van Somer's ability to combine grandeur with a sense of personality and activity. The inclusion of the servant and the hunting motif speaks to the Queen's personal interests and status.
King James I (c. 1618-1620): Van Somer painted several portraits of King James I. One notable example, also in the Royal Collection Trust, shows the King standing full-length, adorned with the regalia of the Order of the Garter. Van Somer captures the King's somewhat scholarly and introspective demeanor, while still conveying his royal authority through the lavish costume and formal pose. The meticulous detail in the rendering of the fabrics and jewels is characteristic of Van Somer's work. Another version, dated 1618, is in the Royal Palace of Madrid, indicating the international dissemination of his royal imagery.
Elizabeth Pierrepont, Countess of Kellie (c. 1615-1620): This portrait, likely painted shortly after his arrival or in the succeeding years, showcases Van Somer's skill in capturing female elegance and the luxuriousness of Jacobean attire. The sitter is presented with a serene dignity, her elaborate lace collar and cuffs, and richly embroidered gown rendered with painstaking detail. The subtle modeling of her face and the gentle expression convey a sense of refined character.
Portrait of Francis Bacon, 1st Viscount St Alban (c. 1617): Van Somer also painted prominent figures outside the immediate royal circle, such as the philosopher, statesman, and scientist Francis Bacon. These portraits, including a notable half-length, are significant for capturing the likeness of one of the era's leading intellectuals. Van Somer portrays Bacon with a thoughtful and authoritative air, befitting his status.
Other important sitters included Lucy Harington, Countess of Bedford, a significant patron of the arts, and Henry Wriothesley, 3rd Earl of Southampton, known for his association with William Shakespeare. These commissions underscore Van Somer's central role in the visual culture of the Jacobean elite.
Technical Innovations and Material Studies
Beyond his stylistic contributions, Paulus van Somer was also noted for his interest in the technical aspects of painting, particularly the stability and permanence of pigments. This concern is documented in the famous De Mayerne Manuscript, compiled by Sir Théodore de Mayerne, a Swiss-born physician to King James I and Charles I, who was also an amateur chemist with a keen interest in artists' materials and techniques.
De Mayerne recorded conversations with various artists, including Van Somer, about their methods. Van Somer is noted for his experiments with pigments and mediums. One particularly unusual, if not entirely unique for the period's empirical approach, anecdote involves Van Somer testing the lightfastness and stability of certain pigments by exposing painted samples to "foul vapours," specifically in a "shit-shed" (privy or outhouse). This rather earthy experiment aimed to identify which colors were prone to fading or discoloration under harsh conditions, reflecting a practical concern for the longevity of his work.
The manuscript records that Van Somer found certain pigments, like some yellows (possibly early forms of lead-tin yellow or organic yellows) and reds (like carmine lake pigments), to be less stable. He also discussed the use of different oils and varnishes. For instance, he is noted as recommending the use of turpentine and resins, likely as components in varnishes or as diluents, to enhance the brilliance and stability of colors. There are also discussions about the best way to prepare blue pigments, such as smalt or azurite, to prevent them from darkening or changing hue, sometimes suggesting specific oil binders like linseed oil or walnut oil for particular pigments.
This empirical approach to materials, though rudimentary by modern scientific standards, was crucial for artists striving to achieve desired effects and ensure the durability of their paintings. Van Somer's contributions to these discussions, as recorded by De Mayerne, highlight him as a thoughtful craftsman, not just a skilled painter.
Contemporaries and Influence
Paulus van Somer worked in a period of transition and increasing artistic exchange. In England, he was a contemporary of other notable portraitists, many of whom also had Netherlandish origins.
Marcus Gheeraerts the Younger (c. 1561/62 – 1636): A Flemish artist who had been active in England for longer, Gheeraerts was a leading court painter before Van Somer's rise. His style, while elegant, often retained a more decorative and linear quality compared to Van Somer's softer naturalism.
John de Critz the Elder (c. 1551/2 – 1642): Of Flemish descent, De Critz held the post of Serjeant Painter to the King and was involved in a wide range of decorative work as well as portraiture.
Robert Peake the Elder (c. 1551 – 1619): An English-born painter who also served as Serjeant Painter, Peake's style was more aligned with the late Elizabethan tradition.
William Larkin (early 1580s – 1619): Known for his strikingly detailed and richly patterned "cabinet" full-length portraits, Larkin's work represents a distinct and fascinating strand of Jacobean art, often characterized by flat, bright, and jewel-like surfaces.
Daniel Mytens (c. 1590 – 1647/48): A Dutch painter who arrived in England around 1618, Mytens became a direct competitor to Van Somer and eventually succeeded him as a leading court painter after Van Somer's death. Mytens's style was also characterized by elegance and a degree of naturalism, further developing the trends Van Somer had helped introduce.
While Van Somer was influenced by the broader Netherlandish tradition, which included giants like Peter Paul Rubens (1577-1640), his direct interaction with Rubens in England would have been minimal, as Rubens's significant diplomatic and artistic visit to England occurred later, in 1629-1630. However, the pervasive influence of Rubens's dynamic Baroque style was beginning to be felt across Europe.
The true successor in terms of transforming British portraiture with a full-blown continental Baroque sensibility would be Anthony van Dyck (1599-1641), who arrived in England in 1632. Van Dyck, a former pupil of Rubens, brought an unparalleled elegance, fluidity, and psychological acuity to his portraits, profoundly shaping the course of British art for centuries. Van Somer can be seen as a crucial precursor to Van Dyck, helping to acclimatize English patrons to a more sophisticated and naturalistic mode of portraiture, thereby paving the way for Van Dyck's revolutionary impact.
Other artists whose names appear in the De Mayerne manuscript, indicating the network of artistic knowledge, include Abraham van der Doort, keeper of Charles I's collections, and even references to older masters like Hans Holbein the Younger (c.1497-1543), whose techniques were still studied. The studio assistants of major masters, such as Lucas Vorsterman (1595-1675) and Paulus Pontius (1603-1658) for Rubens, also played roles in disseminating styles and techniques, though their direct connection to Van Somer is less clear.
Legacy and Art Historical Significance
Paulus van Somer died in London in January 1621 or 1622 (the exact year varies slightly in records) and was buried at St Martin-in-the-Fields. His career in England, though relatively short (around five to six years), was highly impactful.
His primary legacy lies in his contribution to the evolution of British portraiture. He helped steer it away from the more emblematic and stiffly formal styles of the late Tudor and early Jacobean periods towards a greater naturalism, psychological depth, and continental elegance. His portraits provided a more nuanced and humanized vision of the monarchy and aristocracy.
He introduced a higher level of technical proficiency in the handling of paint, the rendering of textures, and the use of light, which influenced his contemporaries and successors. His documented interest in the chemistry of painting, as recorded by De Mayerne, also marks him as an artist concerned with the craft and permanence of his work, participating in the empirical investigations of his time.
While his fame was later eclipsed by the dazzling brilliance of Anthony van Dyck, Van Somer's role as a transitional figure is crucial. He bridged the gap between the late Renaissance traditions in English portraiture and the emerging Baroque style. His work provided a foundation upon which artists like Daniel Mytens and, ultimately, Van Dyck could build.
Today, Paulus van Somer's paintings are prized not only as historical documents offering vivid likenesses of key figures from the Jacobean era but also as accomplished works of art in their own right. They reflect the sophisticated tastes of his patrons and his own considerable skill as a Flemish-trained master who successfully adapted his talents to the demands of the English court, leaving a lasting imprint on the visual culture of his adopted country. His work remains a testament to the rich cross-cultural artistic exchanges that characterized early modern Europe.
