Pieter de Putter stands as a notable, if sometimes overlooked, figure in the rich tapestry of Dutch Golden Age painting. Active primarily during the first half of the 17th century, he carved a distinct niche for himself as a specialist in still life compositions, with a particular and enduring focus on the depiction of fish. His work not only showcases considerable technical skill but also offers a glimpse into the cultural and economic landscape of the Netherlands, where fishing and maritime trade played pivotal roles. As an artist, he contributed to a genre that was burgeoning in popularity, and his influence, particularly on his renowned pupil Abraham van Beyeren, cemented his place in art history.
The Enigma of Dates and Early Influences
Pinpointing the exact birth and death dates of Pieter de Putter presents a challenge common to many artists of his era, with historical records offering somewhat conflicting or sparse information. Most art historical consensus places his activity roughly between 1600 and 1659. He is believed to have been born around 1600, possibly in Middelburg, though The Hague is the city most closely associated with his mature career. Some earlier mentions suggest activity even before 1600, with one account linking a Pieter de Putter to a marriage with a Carla van Lamswee and a death before 1599. However, the painter known for his fish still lifes and as the teacher of Van Beyeren is generally accepted to be the one active in the 17th century.
The details of De Putter's early training are not definitively documented. However, it has been suggested that he may have been an early student of the influential landscape painter Jan van Goyen. If this association is accurate, it would indicate an initial grounding in landscape painting, elements of which might have subtly informed his later still life compositions, perhaps in the atmospheric quality or the arrangement of objects within a defined space. Van Goyen, known for his tonal landscapes and innovative approach to depicting the Dutch countryside, would have provided a strong foundation in observation and painterly technique.
Artistic Development in The Hague
Pieter de Putter is recorded as being active in The Hague for a significant portion of his career. This city, the political center of the Dutch Republic, was also a vibrant hub for artists. It was here that De Putter likely honed his specialization. The proximity to the North Sea and the intricate network of inland waterways meant that fish were a staple of the Dutch diet and economy, making them a readily available and culturally relevant subject for a still life painter.
His decision to focus on fish still lifes, or "visstillevens," set him apart. While other artists like Clara Peeters had depicted fish as part of larger "ontbijtjes" (breakfast pieces) or market scenes, De Putter was among the first in the Netherlands to make fish the primary, almost exclusive, subject of his paintings. This specialization allowed him to develop a profound understanding of his subject matter – the varied textures of scales, the glistening sheen of wet skin, the subtle gradations of color in different species of freshwater and saltwater fish.
His works often feature an array of aquatic life, including pike, perch, carp, salmon, and shellfish, frequently accompanied by fishing tackle such as nets, rods, baskets, and earthenware pots. These arrangements were not merely decorative; they spoke to the everyday activities and livelihoods of many Dutch people. The compositions are typically characterized by a sober, naturalistic approach, with a keen eye for detail and a masterful handling of light and shadow to create a sense of volume and verisimilitude.
Signature Style and Notable Works
Pieter de Putter's style is marked by its realism and tactile quality. He excelled at rendering the diverse textures of his subjects: the rough, patterned skin of a pike, the smooth, iridescent scales of a perch, the dampness of freshly caught fish. His palette was often subdued, employing earthy tones, greys, and browns, which allowed the subtle colors of the fish themselves to stand out. The play of light across the surfaces of the fish and the surrounding objects was a key element, highlighting their forms and creating a sense of depth.
One of his representative works, often cited, is Still Life with Pike and Perch. In such paintings, De Putter typically arranges the fish on a simple wooden table or slab, sometimes with a plain, dark background that throws the subjects into relief. The composition is often diagonal, leading the viewer's eye across the canvas. He paid meticulous attention to the details of the fishing equipment, and a fascinating technical anecdote suggests he would sometimes use the handle of his brush to incise the pattern of netting into the wet paint, adding another layer of realism.
Another work, Still Life with Fish dated 1630, further exemplifies his dedication to this subgenre. Beyond individual fish, he sometimes depicted larger, more complex arrangements, hinting at the bounty of the waters. While fish were his mainstay, there is evidence he also painted other types of still lifes, including vanitas themes incorporating books, suggesting a broader intellectual engagement with the symbolic potential of the genre. The "contre-jour" or backlighting technique, which he reportedly adopted after joining the Guild of Saint Luke, possibly influenced by Italian paintings, added a dramatic flair to some of his compositions, silhouetting objects and creating strong contrasts.
The Crucial Mentorship of Abraham van Beyeren
Perhaps one of Pieter de Putter's most significant contributions to Dutch art history was his role as the teacher of Abraham van Beyeren (c. 1620/21–1690). Van Beyeren would go on to become one of the most celebrated still life painters of the Dutch Golden Age, renowned for his opulent banquet pieces, floral still lifes, and, importantly, his magnificent fish still lifes.
The connection between Putter and Van Beyeren was not merely professional but also familial. Van Beyeren married Putter's niece, Anna van den Queborn, in 1647. It is widely believed that De Putter was instrumental in introducing Van Beyeren to the genre of fish still life and provided him with his foundational training in this area. While Van Beyeren would later develop his own, often more flamboyant and richly textured style, the influence of De Putter's meticulous observation and realistic rendering of fish is evident in his early works. De Putter’s focused dedication to the subject likely provided Van Beyeren with a strong technical and thematic starting point.
This mentorship highlights De Putter's standing within the artistic community of his time. To have guided such a prominent talent as Van Beyeren speaks to his own skill and reputation as a master of his chosen specialty.
Contemporaries and Artistic Milieu
Pieter de Putter worked during a period of extraordinary artistic production in the Netherlands. The demand for paintings was high, fueled by a prosperous merchant class eager to adorn their homes. This led to a high degree of specialization among artists. Besides Jan van Goyen, his potential teacher, and Abraham van Beyeren, his most famous pupil, De Putter’s artistic world was populated by numerous other talents.
He was a contemporary of artists like Rembrandt van Rijn (1606-1669), whose revolutionary use of light and psychological depth was transforming history painting and portraiture. While De Putter’s genre was different, the broader artistic climate, with its emphasis on realism and technical mastery, undoubtedly played a role.
In the realm of still life, artists such as Willem Claesz. Heda (1594–c. 1680) and Pieter Claesz. (1597–1660) were masters of the "monochrome banketje" (monochromatic banquet piece), creating subtle and evocative compositions of tableware and foodstuffs. Clara Peeters (1594–c. 1657) was an early pioneer of still life, depicting intricate arrangements of food, flowers, and precious objects. Jan Davidsz. de Heem (1606–1684) became famous for his lavish and colorful pronkstillevens (ostentatious still lifes). While De Putter’s focus was narrower, his work shares the Dutch preoccupation with capturing the tangible reality of the world.
Other artists who explored similar themes or were part of the broader Hague school include Wenceslaus van der Spuy. De Putter's style also shows affinities with the work of artists like Hendrik Gerritsz Pot (c. 1580-1657) and Pieter de Grebber (c. 1600-1653) from Haarlem, particularly in the manner of execution, figure types (if applicable to any lost or unattributed works), and the use of bright local colors against more subdued, often monochrome, backgrounds. De Grebber himself was an interesting figure, influenced by both Peter Paul Rubens (1577-1640) from Flanders and Rembrandt, and was also an art theorist, writing a treatise on the rules of painting. Such connections, direct or indirect, illustrate the interconnectedness of the Dutch art scene.
Later painters who also specialized in fish still lifes, such as Jacob Gillig (c. 1636-1701) in Utrecht, or even the Flemish master Frans Snyders (1579-1657) with his grand market scenes and depictions of game and fish, further demonstrate the appeal of this subject matter, though De Putter was an earlier proponent of it as a focused genre. Adriaen van Utrecht (1599-1652), another Flemish artist, also produced impressive fish still lifes, showcasing the cross-pollination of themes across regions.
Artistic Techniques and Innovations
De Putter's contribution to still life painting lies not only in his choice of subject but also in his technical approach. His commitment to naturalism was paramount. He meticulously observed the anatomy, coloration, and texture of various fish species. This scientific-like attention to detail was a hallmark of much Dutch Golden Age art, reflecting a broader cultural interest in the natural world.
His use of light was crucial. Often, a single light source would illuminate the scene, casting distinct shadows and highlighting the glistening surfaces of the fish. This technique, reminiscent of Caravaggist influences that permeated Dutch art, added drama and a sense of three-dimensionality to his compositions. The aforementioned "contre-jour" technique, where objects are lit from behind, was a more sophisticated lighting scheme that could create striking silhouettes and a heightened sense of atmosphere.
The practice of incising details like netting directly into the wet paint with a brush handle was an innovative way to achieve a specific textural effect, demonstrating a practical, hands-on approach to achieving realism. This directness in mark-making, combined with careful layering of glazes to capture the subtle translucency of fish skin or the metallic sheen of scales, reveals a painter deeply engaged with the material possibilities of his medium.
His compositions, while seemingly simple, were carefully constructed. The arrangement of fish, often in a diagonal sweep or a gentle curve, provided visual interest and guided the viewer's eye. The inclusion of fishing implements not only added to the narrative context but also provided contrasting textures and forms – the rough weave of a basket, the smooth wood of a fishing rod, the complex pattern of a net.
Legacy and Art Historical Significance
Pieter de Putter's legacy is primarily tied to his pioneering role in the development of the fish still life as a distinct subgenre in Dutch art. While he may not have achieved the widespread fame of some of his contemporaries like Rembrandt or Vermeer, or even his own pupil Van Beyeren, his focused dedication to this theme was influential. He demonstrated that even humble subjects like fish could be worthy of serious artistic attention and could be rendered with a high degree of skill and aesthetic appeal.
His influence on Abraham van Beyeren is undeniable and represents a key aspect of his historical importance. By training Van Beyeren in the intricacies of fish still life, De Putter helped launch the career of one of the genre's most accomplished masters. This pedagogical role underscores his own mastery and his position within the artistic community of The Hague.
De Putter's paintings also serve as valuable historical documents. They reflect the importance of fishing to the Dutch economy and diet in the 17th century. The types of fish depicted, the fishing equipment shown – all provide insights into the daily life and material culture of the period. In an era when the Dutch Republic was a dominant maritime power, images of the sea's bounty resonated with national pride and economic reality.
His works are held in various museums and private collections, and while not as numerous as those of some other Golden Age painters, they are appreciated for their quiet realism, technical proficiency, and historical significance. He represents a vital strand in the complex web of Dutch still life painting, a specialist who explored his chosen niche with dedication and artistry.
Conclusion
Pieter de Putter was a skilled and dedicated painter who made a significant contribution to Dutch Golden Age art through his specialization in fish still lifes. Working in The Hague, he developed a naturalistic style characterized by meticulous attention to detail, a masterful handling of light and texture, and carefully constructed compositions. His role as a pioneer in this subgenre and, crucially, as the teacher of the celebrated Abraham van Beyeren, secures his place in art history. Though the details of his life may be somewhat obscure, his surviving works speak to a talent that captured the essence of his aquatic subjects, reflecting both the natural world and the cultural preoccupations of his time. He remains an important figure for understanding the depth and diversity of still life painting during one of art history's most fertile periods.
