Salomon de Bray (1597 – May 11, 1664) stands as a prominent and remarkably versatile figure of the Dutch Golden Age. While primarily celebrated as a painter, his talents extended to architecture, urban planning, poetry, and art theory, making him a true polymath of his era. Born in Amsterdam, he relocated to Haarlem around 1617, a city then burgeoning as a major artistic hub, and it was here that he would spend the majority of his prolific career, leaving an indelible mark on its cultural landscape. His life and work offer a fascinating window into the artistic ambitions and intellectual currents that defined one of the most vibrant periods in European art history.
Early Life and Artistic Formation
Salomon de Bray was born in Amsterdam in 1597. The exact details of his earliest training remain somewhat obscure, but it is widely believed that he received his initial artistic education in his birth city. Among his likely teachers were prominent figures such as Hendrick Goltzius, a renowned engraver and painter who transitioned from Mannerism to an early form of classicism, and Cornelis van Haarlem, another leading artist of the Haarlem Mannerist school. Some sources also suggest a period of study with Pieter Lastman, who famously taught Rembrandt and was a significant history painter in his own right.
Around 1617, de Bray moved to Haarlem. This city was a crucible of artistic innovation, home to masters like Frans Hals. In Haarlem, de Bray continued to hone his skills and develop his distinct artistic voice. He joined the Haarlem Guild of St. Luke, the city's official organization for painters and other craftsmen, in 1615, even before his permanent move, indicating an early connection to the city's artistic community. His presence in Haarlem would become central to the development of a specific strand of Dutch Classicism that flourished there.
De Bray's training under artists who straddled the late Mannerist and emerging Baroque and Classicist styles provided him with a diverse foundation. Goltzius, in particular, emphasized drawing and the study of the human form, principles that would become evident in de Bray's later work. The influence of Lastman, if indeed he was a teacher, would have instilled an appreciation for history painting, a genre that de Bray would champion throughout his career.
A Multifaceted Talent: Painter, Architect, and Poet
Salomon de Bray was not content to confine his talents to a single discipline. While painting remained his primary focus, he actively engaged in architecture, contributing to several significant building projects. He also possessed a literary bent, composing poetry, some of which was set to music by his contemporary, the composer Cornelis Padbrué. This breadth of interest was characteristic of the "uomo universale" ideal, reflecting an ambition to master various fields of art and knowledge.
As an art theorist, de Bray played a crucial role in the reorganisation of the Haarlem Guild of St. Luke in the 1630s. He sought to elevate the status of painters and architects above that of mere craftsmen, advocating for a more academic and intellectual approach to the arts. His efforts contributed to a shift in how artists were perceived and how their guilds functioned, emphasizing artistic skill and theoretical understanding.
His work as an urban planner is also noteworthy. He developed proposals for the expansion of Haarlem, envisioning an orderly and aesthetically pleasing urban environment. Though not all his plans were realized, they demonstrate his comprehensive vision for the role of art and design in civic life. This holistic approach, integrating various artistic disciplines, set him apart from many of his contemporaries who specialized more narrowly.
Artistic Style and Influences
Salomon de Bray's painting style is firmly rooted in Dutch Classicism. This movement, which gained traction in the Netherlands during the 17th century, sought inspiration from the art of classical antiquity and the Italian Renaissance, emphasizing clarity, order, harmony, and idealized human forms. De Bray became one of the leading proponents of this style in Haarlem, often working alongside or in a similar vein to artists like Pieter de Grebber.
His works are characterized by a refined technique, smooth brushwork, and a balanced, often symmetrical, composition. While he was aware of the dramatic chiaroscuro employed by contemporaries like Rembrandt van Rijn, de Bray's use of light and shadow tended to be more subtle and controlled, serving to model forms clearly rather than create intense emotional drama. His figures often possess a sculptural quality, reflecting his classical ideals.
De Bray specialized in history paintings, depicting scenes from the Bible, classical mythology, and ancient history. This genre was considered the most prestigious in academic art theory, as it required not only technical skill but also erudition and the ability to convey complex narratives and moral lessons. His portraits, often imbued with a dignified and somewhat idealized character, also reflect his classicizing tendencies. He occasionally painted landscapes, though these form a smaller part of his oeuvre.
The influence of Italian art, particularly the Bolognese school of painters like Annibale Carracci and Guido Reni, can be discerned in his work, likely transmitted through prints and the work of Dutch artists who had traveled to Italy, such as the Utrecht Caravaggisti (e.g., Gerard van Honthorst, Dirck van Baburen, Hendrick ter Brugghen), though de Bray's interpretation leaned more towards the classical than the Caravaggesque.
Major Paintings and Commissions
Salomon de Bray produced a significant body of work, with several paintings standing out as representative of his style and thematic concerns. One of his most famous early works is Young Woman Combing Her Hair (1635), currently housed in the Louvre Museum, Paris. This intimate genre scene, rendered with delicate attention to light and texture, showcases his ability to capture quiet, everyday moments with grace and sensitivity, even as it hints at allegorical meanings common in Dutch art.
A significant commission came in the late 1640s and early 1650s when he, along with other prominent artists like Jacob Jordaens, Theodoor van Thulden, Caesar van Everdingen, and Gerard van Honthorst, was involved in the decoration of the Oranjezaal (Orange Hall) at Huis ten Bosch, the royal palace in The Hague. This ambitious project, overseen by Constantijn Huygens and architect Jacob van Campen, was intended to glorify the deeds of Stadtholder Frederik Hendrik. De Bray's contributions to this monumental decorative cycle further solidified his reputation as a leading history painter.
His religious paintings often convey a serene piety. Works like David with His Sword (circa 1660) and The Martyrdom of St. Lawrence (circa 1660) demonstrate his skill in depicting biblical and hagiographic subjects with clarity and emotional restraint, adhering to the decorum expected of such themes within a classicist framework. Another notable work is the Portrait of a Woman as Semiramis (1652), located in the Frans Hals Museum, Haarlem, which exemplifies the trend of "historiated portraits," where sitters were depicted in the guise of historical or mythological figures.
De Bray also painted group portraits, such as The Governors of the Guild of St. Luke, Haarlem (1640s, exact date debated), showcasing his ability to manage complex compositions involving multiple figures while maintaining individual likenesses and a sense of formal dignity. His versatility extended to designs for silverwork, further highlighting his multifaceted artistic capabilities.
Architectural Achievements and Urban Planning
Beyond his accomplishments as a painter, Salomon de Bray made significant contributions as an architect and urban planner. He was a proponent of Dutch Classicist architecture, which, much like its painterly counterpart, emphasized symmetry, proportion, and the use of classical orders. His architectural work aimed to bring a sense of order and grandeur to the urban fabric of Haarlem and beyond.
Among his documented architectural projects is the design for the Consistory of the Grote Kerk or Sint-Bavokerk in Haarlem. He was also involved in the design of the St. Annakerk (St. Anne's Church) in Haarlem, a Protestant church that reflects the sober yet elegant classicism favored at the time. Another important commission was the design for the new Orphanage in Nijmegen. These projects demonstrate his practical application of classical architectural principles.
De Bray also authored a book titled Architectura Moderna ofte Bouwinge van onsen tyt (Modern Architecture or Building of Our Time), published in 1631. While this book primarily showcased the works of the prominent Amsterdam architect Hendrick de Keyser the Elder (who had died in 1621), de Bray wrote the preface and likely played a significant editorial role. This publication was instrumental in disseminating de Keyser's influential designs and promoting a modern, classicist architectural style in the Netherlands. It included important buildings like the Westerkerk in Amsterdam and the Town Hall of Delft.
His interest in urban planning led him to propose an ambitious expansion plan for the city of Haarlem. This plan included the creation of new canals and a more rational layout of streets, reflecting the era's growing concern for orderly urban development. Although his grand vision for Haarlem was not fully implemented, his ideas contributed to the discourse on urban design in the Dutch Republic. His architectural and urban planning endeavors were thus closely aligned with his classicist ideals, seeking to create harmonious and well-ordered environments.
The Guild of St. Luke and Theoretical Contributions
Salomon de Bray was deeply involved in the affairs of the Haarlem Guild of St. Luke, the professional organization for artists and artisans. In the 1630s, he played a leading role in reforming the guild's charter. His aim was to elevate the status of painters and architects, distinguishing them more clearly from craftsmen and emphasizing the intellectual and theoretical underpinnings of their work. This was part of a broader European trend where artists sought greater professional recognition and autonomy.
The reformed guild regulations, influenced by de Bray, likely placed greater emphasis on drawing from life, the study of art theory, and the mastery of perspective and anatomy – all hallmarks of a more academic approach to art. By advocating for these changes, de Bray helped to shape Haarlem into a more structured and theoretically informed artistic center. His efforts mirrored similar movements in other cities, such as the founding of "schilderscolleges" (painters' colleges) that functioned somewhat like informal academies.
His theoretical leanings are also evident in his writings, such as the preface to Architectura Moderna. While he did not produce a comprehensive treatise on art theory in the manner of Italian theorists like Leon Battista Alberti or Giorgio Vasari, his actions and written contributions suggest a strong belief in the intellectual dignity of the visual arts. He championed history painting as the highest genre, a view consistent with academic art theory prevalent since the Renaissance.
His commitment to classicism was not merely a stylistic preference but an intellectual conviction, believing that art should embody universal principles of beauty, order, and moral rectitude. This conviction informed his teaching, his own artistic practice, and his efforts to reform the institutional structures that governed artistic production in Haarlem.
Family Life and Artistic Dynasty
Salomon de Bray married Anna Westerbaen in 1625. Anna was the sister of the painter Jan Westerbaen and the poet and physician Jacob Westerbaen, connecting Salomon to a culturally active family. The couple had a large family, with at least ten children. Tragically, the family would be decimated by the plague in 1664.
Significantly, several of Salomon de Bray's children followed in his artistic footsteps, establishing a veritable de Bray artistic dynasty. His most famous son was Jan de Bray (c. 1627–1697), who became a leading portraitist and history painter in Haarlem, continuing his father's classicist style. Jan de Bray is particularly renowned for his group portraits, such as The Regents of the Children's Orphanage in Haarlem (1663), and for his poignant "tronies" (character heads) and history paintings, often featuring family members.
Another son, Dirck de Bray (c. 1635–1694), was also an artist, known primarily as a painter of flower still lifes and as an engraver and woodcut artist. He also worked as a bookbinder. A third son, Joseph de Bray (active c. 1650-1664), was a painter of still lifes, particularly fish still lifes, though his career was cut short by his early death.
The artistic activities of the de Bray family underscore the common practice of artistic training within the family workshop during this period. Salomon would have been the primary teacher for his sons, passing on his techniques, stylistic preferences, and theoretical ideas. The de Bray family's collective contribution, particularly that of Salomon and Jan, significantly shaped the character of Haarlem classicism.
Connections and Contemporaries
Salomon de Bray operated within a rich network of artists in Haarlem and beyond. His teachers, Hendrick Goltzius, Cornelis van Haarlem, and possibly Pieter Lastman, were foundational figures. In Haarlem, he was a contemporary of the great portraitist Frans Hals, though their styles differed considerably, with Hals known for his looser, more dynamic brushwork.
He collaborated with and worked alongside other proponents of Dutch Classicism, most notably Pieter de Grebber in Haarlem. Both artists championed a clear, idealized style in history painting. His involvement in the Huis ten Bosch project brought him into contact with a wider circle of artists from various Dutch and Flemish cities, including Jacob van Campen (the chief architect), Caesar van Everdingen, Gerard van Honthorst, Thomas Willeboirts Bosschaert, and the Flemish master Jacob Jordaens.
His architectural publication on Hendrick de Keyser connected him to the legacy of one of Amsterdam's most important architects. De Keyser's work, which included the Zuiderkerk, Noorderkerk, and Westerkerk in Amsterdam, was a cornerstone of early Dutch classicism in architecture.
Other notable Haarlem contemporaries included painters specializing in different genres, such as the landscape painter Jacob van Ruisdael, the architectural painter Pieter Saenredam (known for his luminous church interiors), and genre painters like Adriaen van Ostade and Judith Leyster. While their artistic concerns often diverged from de Bray's focus on history painting and classicism, their collective presence contributed to Haarlem's vibrant artistic milieu. The interactions, collaborations, and even rivalries among these artists fueled the dynamism of the Dutch Golden Age.
The Tragic End and Lasting Legacy
The final year of Salomon de Bray's life was marked by profound tragedy. In 1663-1664, a devastating outbreak of the plague swept through Haarlem, as it did through many parts of Europe. This epidemic had a catastrophic impact on the de Bray family. Salomon de Bray himself succumbed to the plague and died on May 11, 1664. He was buried in the Sint-Bavokerk in Haarlem, a church for which he had undertaken architectural work.
The tragedy was compounded by the loss of several of his children to the same epidemic within a short period. His wife, Anna Westerbaen, had died earlier, possibly also from the plague or related causes. Among the children who perished in 1664 were his artist sons Dirck and Joseph, and several of his daughters. This series of losses effectively decimated his immediate family, leaving his son Jan de Bray as one of the few prominent survivors to carry on the family's artistic name.
Despite this tragic end, Salomon de Bray left a significant and lasting legacy. As a painter, he was a key figure in the development and dissemination of Dutch Classicism, particularly in Haarlem. His history paintings, portraits, and decorative works exemplified the clarity, order, and idealized beauty associated with this style. His influence can be seen in the work of his sons, especially Jan de Bray, and other Haarlem artists who adopted classicizing tendencies.
As an architect and urban planner, he contributed to the physical and aesthetic development of Haarlem and promoted classicist principles in building design. His publication Architectura Moderna helped to popularize the work of Hendrick de Keyser and foster a distinctly Dutch form of classicist architecture. His efforts to reform the Guild of St. Luke enhanced the professional standing of artists and contributed to a more theoretically grounded approach to art-making.
Salomon de Bray is remembered today as a versatile and influential master of the Dutch Golden Age, an artist whose diverse talents and intellectual engagement enriched the cultural life of his time. His works are held in major museums around the world, attesting to his enduring importance in the history of art.
