Willem van Bemmel (1630-1708) stands as a significant, if sometimes overlooked, figure in the rich tapestry of Dutch Golden Age painting. Born in Utrecht, a vibrant artistic hub, he became a distinguished landscape painter whose career bridged the artistic traditions of the Netherlands, the sun-drenched allure of Italy, and the burgeoning art scene of Germany. His legacy is not only in his evocative canvases and meticulous prints but also in the establishment of an artistic dynasty in Nuremberg that would continue for generations. Van Bemmel's work is characterized by its Italianate sensibility, a profound appreciation for the natural world, and a skillful manipulation of light and color that brought his scenes to life.
Early Life and Artistic Formation in Utrecht
Willem van Bemmel was born in 1630 in Utrecht, a city with a strong artistic identity, distinct from Amsterdam or Haarlem. Utrecht was notably receptive to Italian influences, partly due to the Utrecht Caravaggisti like Hendrick ter Brugghen and Gerard van Honthorst, who had brought back the dramatic chiaroscuro of Caravaggio. While Van Bemmel's focus would be landscape, this environment of openness to Italian art likely shaped his early artistic inclinations.
His formal training was under Herman Saftleven II (1609-1685), a respected Utrecht painter known for his detailed landscapes, river views, and imaginative mountain scenes, often populated with small figures. Saftleven's meticulous approach to detail and his ability to create atmospheric depth would have provided a strong foundation for the young Van Bemmel. The period of his apprenticeship is generally cited as being between 1645 and 1647. During this time, he would have learned the fundamentals of composition, color mixing, and the various techniques for depicting natural elements, which were hallmarks of Saftleven's own diverse output, ranging from realistic Dutch views to more fantastical Alpine vistas.
The artistic milieu of Utrecht also exposed Van Bemmel to the works of other influential figures. Abraham Bloemaert (1566-1651), a towering figure in Utrecht who taught Saftleven, was a versatile artist whose long career spanned Mannerism and an approach towards a more naturalistic style, and his influence on landscape and pastoral themes was pervasive. Furthermore, the broader trends in Dutch landscape painting, such as the tonal landscapes pioneered by artists like Jan van Goyen (1596-1656) and Salomon van Ruysdael (1602-1670), with their subtle atmospheric effects and monochromatic palettes, would have been part of the artistic discourse, even if Van Bemmel later leaned towards a more colorful, Italianate style.
The Italian Sojourn: A Pivotal Experience
Like many Northern European artists of his time, Willem van Bemmel was drawn to Italy, the perceived cradle of classical art and a source of inspiration for landscape painters. The journey south was an established rite of passage, promising exposure to ancient ruins, picturesque countryside, and the unique quality of Mediterranean light. Van Bemmel embarked on this transformative journey around 1647, initially spending time in Venice from approximately 1647 to 1649. The vibrant art scene of Venice, with its rich tradition of color and light exemplified by masters such as Titian and Veronese, would have offered a stark contrast to the more subdued palettes often favored in the Netherlands.
Following his Venetian experience, Van Bemmel traveled to Rome, where he resided from roughly 1649 to 1653. Rome was a magnet for international artists, and it was here that he became associated with the "Bentvueghels" (Dutch for "birds of a feather"), a society of mostly Dutch and Flemish artists known for their bohemian lifestyle and mutual support. Membership often involved a playful initiation ceremony and the adoption of a "bent" nickname. While Van Bemmel's nickname is not prominently recorded, his involvement with this group placed him in direct contact with other Netherlandish painters who were similarly captivated by the Italian landscape.
During his Roman years, he was active alongside fellow Dutch artists such as Hendrick Verschuring (1627-1690), known for his battle scenes and Italianate landscapes, and Willem Romeijn (c. 1624-1694), who specialized in pastoral scenes with cattle. This period was crucial for Van Bemmel's development. He absorbed the influence of the "Italianates," Dutch painters who specialized in idealized Italian landscapes bathed in a warm, golden light. Key figures in this movement, whose work Van Bemmel would have undoubtedly studied, included Jan Both (c. 1618-1652), who was one of the earliest and most influential Dutch Italianates, Nicolaes Berchem (1620-1683), and Karel Dujardin (1622-1678). Their paintings often featured classical ruins, bucolic countryside, and picturesque peasants, all rendered with an emphasis on atmospheric perspective and luminous skies. This exposure profoundly shaped Van Bemmel's artistic vision, leading him to adopt the Italianate style that would become a hallmark of his work. He also reportedly visited Naples, further expanding his experience of the Italian terrain and artistic traditions.
Artistic Style and Thematic Concerns
Willem van Bemmel's artistic style is firmly rooted in the Italianate landscape tradition, yet it retains a distinct Dutch sensibility for observation. His paintings are characterized by a harmonious blend of idealized scenery and carefully rendered natural details. He demonstrated a profound understanding of nature, evident in his depiction of foliage, rock formations, and waterways.
A key feature of his work is the masterful use of light and shadow, often employing the warm, golden light characteristic of the Italian Campagna, even in works produced later in Germany. This light serves not only to illuminate the scene but also to create a sense of depth and atmosphere, drawing the viewer into the landscape. His skies are typically clear and natural, contributing to the overall serenity of his compositions. While some critics have noted that his trees and architectural elements can occasionally appear somewhat stiff, his figures are generally well-designed and integrated naturally into their surroundings.
His thematic concerns revolved primarily around landscapes. These ranged from expansive panoramic views to more intimate woodland scenes. Common motifs in his paintings include riverbanks, often with rustic bridges, distant towns or castles nestled among hills, and winding paths that lead the eye through the composition. He often included small figures of travelers, shepherds, or artists sketching, which add a narrative element and a sense of scale to the vastness of nature. These figures, while secondary to the landscape itself, animate the scenes and connect them to human experience.
While deeply influenced by the Italianates like Jan Both and perhaps Pieter de Molijn (1595-1661) for his earlier Dutch grounding, Van Bemmel developed his own interpretation. His compositions are generally well-balanced, often employing diagonal lines to create dynamic movement and a sense of recession. His color palette, while warmed by Italian influences, could also incorporate the cooler greens and blues reminiscent of Northern landscapes, creating a unique fusion.
Mastery in Printmaking
Beyond his paintings, Willem van Bemmel was also an accomplished printmaker, particularly in the medium of copperplate engraving and etching. This aspect of his oeuvre allowed for wider dissemination of his imagery and demonstrated his technical skill in a different artistic discipline. Printmaking required a different set of skills from painting, emphasizing line, tone, and the ability to translate complex scenes into a monochromatic format.
His most famous print is arguably the "Ansicht der Stadt Nürnberg von Nordosten" (View of Nuremberg from the Northeast). This large and detailed copperplate engraving, created around 1665, showcases his ability to capture not only the natural environment surrounding the city but also its intricate architectural fabric. Such city views, or "prospects," were popular in the 17th century, serving as records of urban topography and expressions of civic pride. Van Bemmel's Nuremberg view is notable for its panoramic scope, meticulous detail, and the skillful rendering of perspective, offering a bird's-eye perspective that combines accuracy with artistic sensibility.
His prints often mirrored the themes found in his paintings: idyllic landscapes, sometimes with classical or pastoral elements. He produced a series of twelve small etchings on parchment depicting mountainous and flat landscapes, showcasing his versatility in capturing different types of terrain. These smaller works demonstrate his ability to create evocative scenes even on a modest scale, with a keen eye for atmospheric effects achievable through the careful modulation of etched lines. His engagement with printmaking underscores his comprehensive artistic practice and his contribution to a medium that played a vital role in the visual culture of the period.
Nuremberg: A New Home and Lasting Legacy
After his formative years in Italy and a brief period back in the Netherlands, Willem van Bemmel's career took a decisive turn when he moved to Germany. He worked for a time in Kassel (around 1656 to 1662) for the Landgrave of Hesse-Kassel, a testament to his growing reputation. However, it was in the Imperial Free City of Nuremberg that he ultimately settled around 1662. Nuremberg, with its rich artistic heritage dating back to Albrecht Dürer, was still an important cultural and commercial center.
In Nuremberg, Van Bemmel established himself as a leading painter. He married Agnes Sabbath, the daughter of the Flemish-born tapestry weaver Michael Sabbath, in 1662, further integrating himself into the local artistic community. He continued to produce Italianate landscapes, which found favor with German patrons. His ability to evoke the sunlit vistas of Italy appealed to a clientele that appreciated the classical and picturesque. His aforementioned print, "View of Nuremberg from the Northeast," solidified his status in the city, demonstrating his commitment to his new home.
Perhaps one of his most significant contributions in Nuremberg was the founding of an artistic dynasty. Willem van Bemmel became the progenitor of the Von Bemmel family of artists, who remained active in Nuremberg and Southern Germany for several generations, well into the 19th century. His sons, Johann Georg van Bemmel (1669-1723) and Peter von Bemmel (1685-1753), followed in his footsteps as landscape painters, perpetuating his style and adapting it to contemporary tastes. This continuation of artistic practice within the family ensured that Willem van Bemmel's influence extended far beyond his own lifetime, embedding his artistic DNA into the cultural fabric of Nuremberg. He passed away in Nuremberg in 1708, at the age of 78, leaving behind a substantial body of work and a significant familial legacy.
Key Works and Their Significance
Willem van Bemmel's oeuvre, though not as extensively cataloged as some of his more famous contemporaries, includes several works that highlight his artistic strengths and stylistic development.
One of his earliest known signed works is "Chapel Courtyard" or "Churchyard," dated 1650. Created during or shortly after his initial Italian experiences, this piece likely reflects his burgeoning Italianate style, perhaps combined with the meticulous detail learned from Saftleven. Such scenes, often imbued with a sense of tranquility or picturesque decay, were popular subjects.
The aforementioned copperplate engraving, "Ansicht der Stadt Nürnberg von Nordosten" (c. 1665), is a landmark in his graphic work. Its detailed depiction of Nuremberg, combining topographical accuracy with artistic composition, makes it an important historical document as well as a work of art. It demonstrates his skill in a demanding medium and his ability to handle complex panoramic views.
"Landscape with an Artist Sketching," housed in the Crocker Art Museum, is another representative piece. This painting, measuring 15.5 x 20.2 cm, exemplifies a common theme in 17th-century art: the artist at work in nature. It underscores the importance of direct observation for landscape painters and subtly elevates the status of the artist. The scene likely depicts an Italianate landscape, with the characteristic warm light and picturesque elements that Van Bemmel favored.
Other works, such as "Landscape with Willow," which might show a figure fishing by a stream, capture the idyllic and pastoral mood prevalent in many of his paintings. A series of twelve small paintings on parchment, featuring varied mountainous and flat landscapes, further attests to his versatility and his consistent engagement with landscape motifs throughout his career. These works, often characterized by riverbanks, bridges, and distant towns, consistently display his skillful handling of light and atmosphere, creating inviting and harmonious scenes. While individual attributions can sometimes be debated – a common issue for artists of this period, with one instance suggesting a work once thought to be by Antoine Watteau might be his – the overall body of his work presents a coherent artistic vision.
Contemporaries and Influences
Willem van Bemmel's artistic journey was shaped by a network of teachers, peers, and the broader artistic currents of his time. His primary teacher, Herman Saftleven II, provided him with a solid grounding in landscape painting. Saftleven himself was a versatile artist, known for his Rhine views and imaginative mountain scenes, and his meticulousness would have been a key early influence.
The artistic environment of Utrecht also exposed Van Bemmel to the legacy of Abraham Bloemaert, a foundational figure whose influence extended to many Utrecht artists, including Saftleven. The tonal landscapes of Jan van Goyen and Salomon van Ruysdael represented another significant trend in Dutch art, emphasizing atmospheric realism.
During his crucial years in Italy, Van Bemmel was immersed in the world of the Italianate painters. The works of Jan Both, with his luminous, golden-hued Italian landscapes, were particularly influential for this entire generation. Other Dutch artists in Rome, such as Nicolaes Berchem, Karel Dujardin, Adam Pynacker, and Jan Asselijn, further developed this style, each with their individual nuances. Van Bemmel's interactions within the Bentvueghels society with artists like Hendrick Verschuring and Willem Romeijn provided a community of practice and exchange of ideas.
Back in the Netherlands and later in Germany, he would have been aware of the continuing evolution of landscape painting. His brother, Jacob Gerritsz van Bemmel (1628-1673), was also a landscape painter, primarily active in Utrecht, suggesting a familial predisposition towards the genre, though Willem's career took a more international path.
The decision to settle in Nuremberg placed him in a different artistic context, where he became a leading figure. His style, forged in the Netherlands and Italy, brought a distinct flavor to the German art scene. The artists he influenced most directly were his own descendants, who carried on the Bemmel name and landscape tradition in Nuremberg.
The Bemmel Dynasty in Nuremberg
Willem van Bemmel's move to Nuremberg was not merely a change of scenery but the foundation of an enduring artistic lineage. He became the patriarch of the Von Bemmel family, a name that would be associated with art, particularly landscape painting, in Nuremberg and southern Germany for nearly two centuries. This continuation of an artistic tradition within a single family was not uncommon, but the Bemmel dynasty achieved notable longevity and regional prominence.
His eldest son, Johann Georg van Bemmel (1669-1723), directly inherited his father's artistic mantle. Trained by Willem, Johann Georg specialized in landscapes that often emulated his father's Italianate style, featuring similar motifs of rolling hills, picturesque ruins, and atmospheric lighting. He also painted battle scenes, indicating a broadening of thematic range. Johann Georg's works helped to solidify the family's reputation in Nuremberg.
Another son, Peter von Bemmel (1685-1753), also became a landscape painter and etcher. He, too, was trained by his father and continued in the established family style, though his works sometimes show a Rococo sensibility in their lighter palettes and more decorative qualities. Peter was particularly known for his winter landscapes and moonlight scenes, adding further diversity to the family's output. He, in turn, trained his own sons, Christoph and Johann Christoph, ensuring the Bemmel artistic tradition continued into the next generation.
The Bemmel family's artistic activities extended through grandsons and even great-grandsons of Willem, including figures like Georg Christoph Gottlieb von Bemmel (1738-1794) and Simon Joseph von Bemmel (active late 18th century). While later generations adapted to changing artistic tastes, the foundation laid by Willem van Bemmel—a focus on landscape, often with an Italianate flavor—remained a discernible thread. This dynasty's sustained presence contributed significantly to the artistic life of Nuremberg, demonstrating the lasting impact of Willem van Bemmel's decision to make the city his home. The very existence of such a prolific artistic family underscores Willem's success and the esteem in which his skills were held.
Critical Reception and Historical Evaluation
Willem van Bemmel enjoyed considerable recognition during his lifetime, evidenced by his employment by the Landgrave of Hesse-Kassel and his successful career in Nuremberg. His ability to capture the idyllic beauty of Italianate landscapes resonated with the tastes of his patrons. The production of prints, such as his view of Nuremberg, also suggests a desire to reach a wider audience and a confidence in the appeal of his work.
Historically, Van Bemmel is recognized as a competent and skilled practitioner of the Italianate landscape style. Art historians place him among the numerous Dutch artists who sought inspiration in Italy and successfully translated that experience into their art. While perhaps not reaching the fame of the very top tier of Dutch Golden Age masters like Rembrandt or Vermeer, or even leading Italianates like Jan Both or Nicolaes Berchem, Van Bemmel holds a secure place as a significant representative of this important movement.
His work has been the subject of scholarly attention, notably in Wolf Eiermann's 2007 monograph, "Willem van Bemmel (1630-1708): Monografie mit kritischem Werkverzeichnis," which provides a critical catalog of his works and a detailed examination of his life and career. This kind of dedicated study underscores his importance within the field of art history.
His paintings and prints continue to appear in museum collections and on the art market. For instance, the Crocker Art Museum holds his "Landscape with an Artist Sketching." His works have been featured in exhibitions focusing on Dutch Golden Age art or landscape painting, such as those at the Snite Museum of Art, where his Dutch and Italian period works have been highlighted. Auction results, such as a reported €30,000 for his copperplate "Nürnberg from the Northeast," indicate a sustained appreciation for his skill and artistry among collectors.
Critiques of his style sometimes mention a certain stiffness in the rendering of trees or architecture, or a tendency towards an overly green palette in some works. However, these are often balanced by praise for his well-designed figures, his naturalistic skies, and his overall ability to create harmonious and atmospheric compositions. His role as the founder of the Bemmel artistic dynasty in Nuremberg also adds to his historical significance, marking him as an artist who not only created a substantial body of work but also fostered a lasting artistic tradition.
Conclusion
Willem van Bemmel's life and art offer a fascinating glimpse into the interconnectedness of European art in the 17th century. From his training in Utrecht under Herman Saftleven to his transformative years in Italy and his eventual establishment as a respected master in Nuremberg, Van Bemmel's journey reflects the ambitions and influences that shaped many artists of his era. He skillfully absorbed the lessons of the Italianate style, infusing his landscapes with a characteristic warmth and luminosity, while retaining a Dutch eye for detail and naturalism.
His contributions extend beyond his individual canvases and prints; as the founder of the Bemmel artistic dynasty, his influence permeated the artistic landscape of Nuremberg for generations. While he may not be a household name on par with some of his Dutch contemporaries, Willem van Bemmel remains an important figure for understanding the dissemination of the Italianate landscape tradition and the rich artistic exchanges that characterized the Dutch Golden Age and its impact across Europe. His works continue to be appreciated for their serene beauty, technical proficiency, and the evocative window they offer onto the idealized landscapes that captured the imagination of 17th-century artists and patrons alike.
