Jacob Campo Weyerman | |
|---|---|
| Jacob Campo Weyerman aged 48, drawing by Cornelis Troost | |
| Born | Jacob Campo Weyerman 9 August 1677 |
| Died | 9 March 1747 (aged 69) |
| Nationality | Dutch |
| Known for | Painting, Literature |
| Movement | Baroque |
Jacob Campo Weyerman (9 August 1677 – 9 March 1747) [1] was a painter and writer during the period known as the Dutch Enlightenment. His work encompassed flower and fruit still life paintings, satirical magazines, plays, and biographies of painters. He usually signed his paintings with Campovivo.
As tradition holds, he was born in a military camp outside Charleroi, where his father fought in the Dutch army against the French. His mother was a very independent woman of Scottish descent, Elisabeth Sommeruell, who kept a market tent in Charleroi and eventually was able to afford a house in the center of Breda. There he was taught in the arts and on reaching his majority, traveled to London in 1704 and found work at the academy of Godfried Kneller.
He claims that he also studied oil painting with the Flemish flower painter Simon Hardimé. [2] He specialized in the painting of flowers and fruit. According to the almost contemporary artist biographer Arnold Houbraken, he was a member of the Bentvueghels with the nickname Compaviva, but this may be a mistake. Though Weyerman was known for his embellishments of the truth, he never boasted about the Italian bent. Houbraken may have confused him with Jakob Christoph Weyermann, a German painter active in Augsburg in the first half of the 17th century. In 1720 he returned to the Netherlands and started a periodical called Hermes.
He wrote prose in a colorful style, and could flatter as easily as he offended his contemporaries. [3] Jacob Campo Weyerman is not only interesting to modern readers for his literary qualities, but also as a source for historians on cultural life in the 18th century. Especially his magazines give a glimpse of daily life in Dutch taverns and coffee houses and the tourist attractions of his day.
After Arnold Houbraken died, he also published biographies of painters in his De levens-beschryvingen der Nederlandsche konst-schilders en konst-schilderessen, or The Lives of Dutch painters and paintresses , in four parts during the years 1729–39. Though leaning heavily on Houbraken's work, he seems to have intended his version as a rebuttal to some of the anecdotes in Houbraken's work. Moreover, Weyerman also made use of one of Houbraken's sources, namely Cornelis de Bie's Het Gulden Cabinet . Houbraken's son Jacobus Houbraken, who had helped his mother finish Houbraken's third volume, also helped Weyerman with engravings and made the portrait of him in his book after a design by Cornelis Troost.
In the decorative frame of the portrait, a piece of paper illustrating a book title page shows the words "Den Ontleeder der Gebrekken", which means the Anatomist of Faults. It is unclear today how many of Weyerman's anecdotes are based on truth or fiction. His weekly magazines were very popular. Their sensationalism and emphasis on scandals caused him to have many enemies which led to his conviction for slander and a life sentence. This was a particularly heavy sentence, and he lived in the prison in The Hague from 1738 until his death nine years later at the age of 69.
This article contains information about the literary events and publications of 1729.
Willem Claeszoon Heda was a Dutch Golden Age artist from the city of Haarlem devoted exclusively to the painting of still life. He is known for his innovation of the late breakfast genre of still life painting.
Cornelis de Bie was a Flemish rederijker, poet, jurist and minor politician from Lier. He is the author of about 64 works, mostly comedies. He is known internationally today for his biographical sketches of Flemish and Dutch painters in his Het Gulden Cabinet der Edel Vry Schilderconst, first printed in 1662.
Arnold Houbraken was a Dutch painter and writer from Dordrecht, now remembered mainly as a biographer of Dutch Golden Age painters.
Jan Albertsz. Rotius was a Dutch painter known for his individual and group portraits, breakfast still lifes, kitchen still lifes and fruit still lifes. He was active in Hoorn and was the father of the flower painter Jacob Rotius.
Michiel Carree or Carré was a Dutch Golden Age painter.
Theodorus van Pee (1668–1746) was an 18th-century painter and art dealer from the Northern Netherlands.
Gysbrecht Thys or Gysbrechts Thys was a Flemish painter active in Antwerp known for his religious and mythological works as well as for his nudes. He also painted landscapes. Very few paintings have been attributed to the artist to date.
Jan Frans van Son or Frans van Son was a Flemish still life painter. The son of the prominent Antwerp still life painter Joris van Son, he trained with another prominent still life artist Jan Pauwel Gillemans the Elder. He left for England at a young age and had a successful career in London. He painted flower pieces, fruit still lifes and banquet still lifes.
Otto Hoynck, was a Dutch Golden Age portrait painter active in England.
Maria Verelst (1680–1744) was an early 18th-century English painter best known for her portraits.
Katharina, or Catharina Rozee, was a Dutch Golden Age artist. She is remembered for her ability to create exceptionally realistic images in the medium of embroidery.
Pieter Verhoek, was a Dutch Golden Age poet and marble painter.
Florent le Comte (1655–1712), was a French writer and engraver.
The Lives of Dutch painters and paintresses, or De levens-beschryvingen der Nederlandsche konst-schilders en konst-schilderessen, as it was originally known in Dutch, is a series of artist biographies with engraved portraits written by the 18th-century painter Jacob Campo Weyerman. It was published in four volumes as a sequel to Arnold Houbraken's own list of biographies known as the Schouburgh. The first volume appeared in 1729, and the last volume was published in 1769. This work is considered to be a very important source of information on 17th-century artists of the Netherlands, specifically those artists who worked in The Hague and in London.
Simon Hardimé (1672–1737) was a Flemish painter of mixed Walloon and Flemish descent. He is known for his paintings of flowers. He trained in Antwerp and later worked for a few years in the Dutch Republic. He then moved to London where he remained the rest of his life. His patrons included the bourgeoisie in Brussels and Antwerp and aristocrats in the Netherlands and England.
Ferdinand van Kessel, was a Flemish Baroque painter known for his landscapes, still lifes and genre pieces with monkeys.
Arnold Frans Rubens or Rubbens (1687–1719) was a Flemish Baroque painter who specialized in cabinet pictures of landscapes and battle scenes. He also painted some biblical subjects and genre scenes.
Jan Baptist de Crépu or Jean Baptiste de Crépu was a Walloon officer in the Spanish service and a flower painter who after retiring from military service operated a workshop in Antwerp. He trained the flower painters Simon Hardimé and Jan Baptist Bosschaert.
Pieter Hardimé was a Flemish painter known for his paintings of flowers. He trained in Antwerp and later moved to the Dutch Republic where he worked in The Hague. He was active as a decorative painter of flowers for wall and ceiling decorations, often in collaboration with Mattheus Terwesten.