Willem Schellinks (1627-1678) stands as a fascinating figure in the rich tapestry of Dutch Golden Age art. More than just a painter, he was an accomplished draughtsman, a printmaker, and a poet, whose life and work were profoundly shaped by his extensive travels across Europe. His meticulous observations of landscapes, cityscapes, and maritime scenes, often imbued with a keen sense of atmosphere and populated with lively figures, offer invaluable visual records of the 17th century.
Early Life and Artistic Formation in Amsterdam
Born in Amsterdam in 1627, Willem Schellinks emerged from a family with artistic and technical inclinations. His father, Daniel Schellinks, was a land surveyor, a profession that required a keen eye for detail and an understanding of topography – skills that may have subtly influenced his son's later meticulous depictions of landscapes and city views. Willem had two brothers, Jacob and Laurens, and a sister, Wilhelmina. His brother Daniel Schellinks (1627-1701), also an artist, though perhaps more of an amateur, shared Willem's birth year, suggesting they might have been twins or born very close together.
The artistic environment of Amsterdam in the mid-17th century was vibrant and competitive. While specific details about Schellinks' formal artistic training are scarce, it is highly probable that he underwent an apprenticeship with an established master, as was customary. The city was a hub for artists specializing in various genres, from portraiture and genre scenes to landscapes and marine paintings. This bustling artistic milieu would have provided ample opportunity for a young artist to absorb diverse influences and hone his craft.
The Call of the Road: Schellinks' Formative Journeys
A defining characteristic of Schellinks' career was his passion for travel, which provided the primary subject matter for much of his oeuvre. These journeys were not mere sightseeing excursions but rather intensive periods of observation, sketching, and note-taking.
First Foray: The Loire Valley with Lambert Doomer
In 1646, at the young age of around nineteen, Schellinks embarked on his first significant journey abroad. He traveled to France, notably along the picturesque Loire River, in the company of his friend and fellow artist, Lambert Doomer (1624-1700). Doomer, himself a notable painter and draughtsman, often depicted topographical views and genre scenes. This collaborative expedition would have been a formative experience for Schellinks, allowing him to sketch directly from nature and capture the unique architectural and scenic beauty of the French countryside. The drawings and notes from this trip laid the groundwork for later paintings and provided a taste for the itinerant artistic life.
The Grand Tour: An Extensive European Expedition (1661-1665)
Fifteen years later, from 1661 to 1665, Schellinks undertook a far more ambitious and extensive tour of Europe. This journey, which lasted approximately four years, saw him traverse England, France (again), Italy, Switzerland, Germany, and even the Mediterranean islands of Malta and Sicily. Such extensive travel was a significant undertaking in the 17th century, fraught with challenges but immensely rewarding for an artist keen on broadening his horizons.
During these travels, Schellinks was not merely a passive observer. He meticulously documented the places he visited, creating a vast corpus of drawings and keeping detailed diaries. These records were rich in geographical detail, capturing the specific features of landscapes, the layout of cities, and the character of harbors. He also noted local customs and cultural practices, making his travelogues valuable historical documents in their own right. His depictions of English towns, Italian ruins, Alpine vistas, and Mediterranean ports showcase his versatility and his ability to adapt his style to capture the essence of diverse locales.
Artistic Style, Influences, and Thematic Concerns
Willem Schellinks' artistic style is firmly rooted in the traditions of 17th-century Dutch landscape and marine painting, yet it bears his distinctive touch and reflects the influences of several key contemporaries.
The Dutch Golden Age Context
The Dutch Golden Age saw an unprecedented flourishing of the arts, with landscape painting, in particular, reaching new heights of popularity and sophistication. Artists sought to capture the beauty of their own country as well as exotic, often Italianate, scenes. There was a strong market for paintings that were both aesthetically pleasing and topographically accurate, catering to a prosperous merchant class eager to adorn their homes with images of the world.
Key Influences: Lingelbach, Doomer, Asselijn, and Rembrandt
Schellinks' work shows the clear influence of Johannes Lingelbach (1622-1674), a German-born painter active in Amsterdam who specialized in Italianate landscapes and harbor scenes, often populated with lively figures (staffage). Lingelbach's skill in depicting bustling marketplaces, ports, and genre elements within larger compositions seems to have resonated with Schellinks. The careful arrangement of figures and animals, and the overall sense of a well-composed scene, are hallmarks shared by both artists.
His early travel companion, Lambert Doomer, undoubtedly played a role in shaping his approach to topographical drawing and painting. The practice of sketching en plein air, or at least making detailed preparatory drawings on site, was crucial for both artists.
The influence of Jan Asselijn (c.1610-1652), one of the first Dutch painters to introduce a new, classical style of Italianate landscape, is also discernible. Asselijn was known for his warm, golden light and his depictions of Roman ruins and pastoral scenes, elements that appear in some of Schellinks' Italian views.
Interestingly, Schellinks also appears to have engaged with the work of the towering figure of Dutch art, Rembrandt van Rijn (1606-1669). There is evidence that Schellinks imitated some of Rembrandt's compositions and, more significantly, shared Rembrandt's interest in Eastern, particularly Mughal Indian, art. Schellinks is known to have incorporated Mughal-style elements into some of his works, reflecting a broader Dutch fascination with the exotic cultures encountered through global trade.
Schellinks' Unique Contributions
While influenced by others, Schellinks developed a distinctive style characterized by clarity, detailed observation, and often a slightly cooler palette than some of his Italianate contemporaries. His landscapes and seascapes are typically well-structured, with a good sense of depth and perspective. He excelled at depicting a wide array of subjects, from tranquil river views and rugged coastlines to bustling city harbors and dramatic historical events. His "elegant writing style," as some have described his draughtsmanship, is evident in the fluid lines and confident handling of his drawings. The figures in his paintings, though often small, are rendered with care and contribute to the narrative or atmosphere of the scene.
A Portfolio of Notable Works
Willem Schellinks' extensive travels and diligent work ethic resulted in a significant body of work. Several pieces stand out as representative of his talent and thematic interests.
"A Sea Marker at Hellevoetsluis"
This painting showcases Schellinks' skill in marine subjects and his attention to navigational details. Hellevoetsluis was an important naval port in the Netherlands, and the depiction of a sea marker underscores the practical maritime concerns of the era. The work likely combines topographical accuracy with a carefully composed artistic vision, typical of Dutch marine painting.
"Drawings of England in the Seventeenth Century"
These drawings, many of which are preserved in the renowned "Atlas van der Hem" (or Van der Hem Atlas), are invaluable historical and artistic documents. Compiled by Laurens van der Hem, this monumental atlas included maps, charts, and topographical views from around the world. Schellinks' contributions, based on his English travels between 1661 and 1663, provide a unique visual record of English towns, landscapes, and coastal features during a period of significant historical change. They demonstrate his keen eye for architectural detail and his ability to capture the character of a place.
"Paysages de France"
This general title encompasses various works inspired by his French travels. Specific examples like "Bergers et bétails près d'une ruine romaine" (Shepherds and Cattle near a Roman Ruin) and "Le Pont des Troills à Angers" (The Treilles Bridge at Angers) highlight his interest in both classical antiquity and contemporary French scenes. The former suggests an Italianate influence even in a French setting, while the latter is a more direct topographical view.
"Chatham Expedition and the Capture of the Sheppey Island" (The Raid on the Medway, 1667)
This panoramic and historically significant painting depicts a key event from the Second Anglo-Dutch War: the audacious Dutch raid on the English fleet anchored in the Medway River in June 1667. Schellinks, who was present during or shortly after the events, created a dramatic and detailed account of the Dutch triumph. The painting captures the chaos of battle, the burning English ships, and the strategic maneuvering of the Dutch forces. It is a prime example of Dutch historical painting, celebrating national prowess and documenting a pivotal moment.
Italian Views: Volcanoes and Ancient Sites
His Italian sojourn yielded numerous captivating works. "Landscape with the Stromboli volcano, after 1665" demonstrates his fascination with dramatic natural phenomena. The depiction of an active volcano would have been an exotic and awe-inspiring subject for Dutch audiences. Similarly, "Castello Maniace, Syracuse, c. 1665" and "Pozzolo from the east, c. 1665" (likely Pozzuoli, near Naples, known for its Roman ruins) reflect his engagement with the historical and scenic landscapes of Sicily and southern Italy. These works often combine topographical accuracy with a romantic sensibility, capturing the interplay of nature and ancient human endeavor.
Beyond the Canvas: Poet and Chronicler
Willem Schellinks was a man of diverse talents. Beyond his visual artistry, he was also a poet. He compiled a collection of poems titled "De Oliopodrigo" (The Potpourri). His poetic endeavors offer another dimension to his creative personality.
One particularly insightful poem, "On the Painting of the Indians," reveals his critical perspective on the art market and the prevailing European attitudes towards non-European art. In this poem, he lamented the way financial considerations and a utilitarian mindset could devalue or misunderstand the intrinsic worth of art from other cultures, specifically praising the artistry of Indian (Mughal) miniatures. This reflects a sophisticated and somewhat unconventional appreciation for global art forms during his time, aligning with his own artistic borrowings from Mughal art.
Furthermore, his meticulous travel diaries, filled with observations on geography, culture, and local life, mark him as a valuable chronicler. His interest in history extended to recording information about towns, churches, and guilds, and he is even said to have written articles for newspapers, showcasing an engagement with the broader intellectual currents of his age.
Personal Life and Character
In 1667, after returning from his extensive European tour, Willem Schellinks married Maria Neus van Daelen. Maria was the widow of a member of the Danckerts family, who were prominent publishers and mapmakers in Amsterdam, a connection that might have been professionally relevant for Schellinks given his topographical work. The couple had three children: Maria Jacoba, Constantia, and Wilhelmina.
Contemporary accounts offer a glimpse into Schellinks' physical appearance, describing him as somewhat unusual: thin, with short legs and bent toes, a dark complexion, and hair that stood upright. While such descriptions are anecdotal, they add a touch of individuality to the historical persona of the artist. His life, however, was not to be a long one; Willem Schellinks passed away in Amsterdam in 1678, at the relatively young age of 51.
Contemporaries and the Artistic Milieu of the Dutch Golden Age
Willem Schellinks operated within a vibrant and crowded artistic landscape. Understanding his work involves recognizing his place amongst a constellation of talented contemporaries.
Besides those already mentioned as direct influences – Johannes Lingelbach, Lambert Doomer, Jan Asselijn, and Rembrandt van Rijn – many other painters defined the era. His brother, Daniel Schellinks, was also active as an amateur artist.
The field of landscape painting was particularly rich. Masters like Jacob van Ruisdael (c. 1628-1682) created dramatic and evocative scenes of the Dutch countryside, while Meindert Hobbema (1638-1709), Ruisdael's pupil, was known for his serene woodland views. Aelbert Cuyp (1620-1691) bathed his landscapes, often featuring cattle and figures, in a distinctive golden light. Earlier masters like Jan van Goyen (1596-1656) had pioneered a tonal approach to landscape. Philips Koninck (1619-1688) was renowned for his expansive panoramic landscapes.
In marine painting, artists like Willem van de Velde the Younger (1633-1707) and Ludolf Bakhuizen (1630-1708) were preeminent, capturing the dynamism of the sea and the grandeur of Dutch naval power. Schellinks' own marine works and his depiction of the Chatham Raid place him in dialogue with this strong tradition.
The Italianate landscape genre, to which Schellinks contributed, was popular. Artists like Nicolaes Berchem (1620-1683), Jan Both (c. 1610/18-1652), and Karel Dujardin (1622-1678) specialized in idyllic, sun-drenched scenes inspired by Italy, often featuring peasants, livestock, and classical ruins. Cornelis van Poelenburgh (1594/95-1667), an earlier pioneer of this style, and Pieter Monincx (active 1620s-1650s) also contributed significantly. Frederik de Moucheron (1633-1686) continued this tradition, often having other artists add the staffage to his landscapes.
Even artists in other genres, such as the genre painters Gerard ter Borch (1617-1681) and Jan Steen (c. 1626-1679), or the earlier Flemish artist Jeremias van Winghe (1578-1645), whose kitchen scenes and moralizing allegories might have been known, contributed to the overall artistic ferment from which Schellinks emerged and in which he participated. This network of artists, through direct association, rivalry, or shared stylistic trends, collectively shaped the character of Dutch Golden Age art.
Legacy and Enduring Impact
Willem Schellinks' death at 51 cut short a productive and multifaceted career. Nevertheless, he left behind a substantial body of work that continues to be valued for both its artistic merit and its historical significance. His paintings and drawings are held in numerous museums and collections across Europe and North America.
His travel accounts, both visual and written, provide invaluable insights into 17th-century Europe. The topographical accuracy of many of his views makes them important records of places that have since changed or disappeared. His depictions of historical events, like the Raid on the Medway, offer a contemporary perspective on significant moments.
As an artist, Schellinks successfully synthesized various influences to create a style that was his own. His ability to work across different scales, from detailed drawings to large panoramic paintings, and to tackle diverse subjects – landscapes, seascapes, city views, historical events – speaks to his versatility. His interest in and incorporation of non-European artistic elements, though perhaps modest, also mark him as an artist with a broader worldview than some of his peers.
His works were appreciated in his own time and continued to be collected. While he may not have achieved the towering fame of a Rembrandt or a Vermeer, Willem Schellinks remains an important and engaging figure, a testament to the depth and diversity of talent that characterized the Dutch Golden Age. His life as an artist-traveler, diligently recording the world around him, ensures his enduring relevance to art historians and anyone interested in the visual culture of the 17th century.
Conclusion
Willem Schellinks was more than a painter of pleasant views; he was an explorer, a documentarian, a poet, and a keen observer of the world. His extensive travels fueled his artistic production, resulting in a rich legacy of images that capture the landscapes, cities, and events of his time with remarkable detail and artistic skill. Influenced by contemporaries like Lingelbach and Rembrandt, yet developing his own distinct voice, Schellinks carved out a significant niche for himself within the bustling art world of the Dutch Golden Age. His contributions as both an artist and a chronicler ensure his place as a noteworthy figure in the study of 17th-century European art and culture.
