Willem van de Velde the Elder | |
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 Willem Gerard van de Velde the Elder (Gerard Sibelius, after Godfrey Kneller) | |
| Born | Willem van de Velde 1610/11 Leiden, Holland, Dutch Republic |
| Died | 13 December 1693 Sackville Street, London, England. |
| Known for | Marine painting |
Willem van de Velde the Elder (1610/11 – 13 December 1693) was a Dutch Golden Age seascape painter, who produced many precise drawings of ships and ink paintings of fleets, but later learned to use oil paints like his son.
Willem van de Velde, known as the Elder, a marine draughtsman and painter, was born in Leiden, the son of a Flemish skipper, Willem Willemsz. van de Velde, and is commonly said to have been bred to the sea. He married Judith Adriaens van Leeuwen in Leiden in 1631.
His three known legitimate children were named Magdalena, born 1632; Willem, known as the Younger, also a marine painter, born 1633 in Leiden; and Adriaen, a landscape painter, baptized in 1636 in Amsterdam. Meanwhile the family lived Korte Koningstraat, close to the harbour, an area known as the Lastage.
His marriage was stormy, at least in its later years. David Cordingly relates that Willem the Elder fathered two children out of wedlock in 1653, one “by his maidservant, and the other by her friend. Nine years later the Elder and his wife went through a legal separation, ‘on account of legal disputes and the most violent quarrels’. The immediate cause of the dispute was his affair with a married woman.” Michael S. Robinson noted that “on 17/27 July 1662, he and his wife agreed to part. A condition of the separation was that the Elder could recover from his son Adriaen ‘two royal gifts’, presumably gifts from Charles II for work done in England.” Cordingly’s account further relates that the dispute was still continuing after another ten years, since “in the autumn of 1672 Judith complained to the woman’s husband.” Robinson adds that by 1674 the couple “must have been reconciled”, for at a chance meeting with Pieter Blaeu in Amsterdam in July the Elder explained that he was only visiting for a few days “in order to fetch his wife”. His son, Adriaen, had died in Amsterdam early 1672, and Willem the Elder was also fetching his grandson, similarly named Adriaen, who was then aged two.
After his move to England, the exact date of which is uncertain, but reportedly at the end of 1672 or beginning of 1673, he is said to have lived with his family in East Lane, Greenwich, and to have used the Queen's House, now part of the National Maritime Museum in Greenwich, as a studio. Following the accession of William III and Mary II as King and Queen of England, it appears that this facility was no longer provided, and by 1691 he was living in Sackville Street, now close to Piccadilly Circus. He died in London, and was buried in St James's Church, Piccadilly, at the south end of the street. A memorial to him and his son lies with in the church.
He was the official artist of the Dutch fleet for a period, being present at the Four Days Battle, 1–4 June 1666, and the St James's Day Battle, 25 July 1666, to make sketches. In his work on the biographies of artists, Arnold Houbraken quotes Gerard Brandt's biography of Admiral Michiel de Ruyter, [1] relating the anecdote where Willem van de Velde asked Admiral de Ruyter permission to have a galley row him around for a good view of the proceedings on the evening of the Four Days battle in 1666. He wasn't the only artist to paint the scenes of this battle, his son, Ludolf Bakhuysen and Pieter Cornelisz van Soest also made paintings of it. This act later was the reason that van Velde gained his marine commission in London. The date, 1672, commonly given for his entry into the service of Charles II of England, was at a time when the Dutch Republic was at war with England (Third Anglo-Dutch War).
According to the inventory Bartholomeus van der Helst owned or stored many paintings by Van de Velde. They lived close to each other (near Nieuwmarkt) and must have been friends.
The Battle of Scheveningen was the final naval battle of the First Anglo-Dutch War. It took place on July 31st 1653 between the fleets of the Commonwealth of England and the Dutch Republic. The Dutch fleet suffered heavy losses.
Cornelis Maartenszoon Tromp, Count of Sølvesborg was a Dutch naval officer who served as lieutenant-admiral general in the Dutch Navy, and briefly as a general admiral in the Royal Danish-Norwegian Navy. Tromp is one of the most celebrated and controversial figures in Dutch naval history due to his actions in the Anglo-Dutch Wars and the Scanian War. His father was the renowned Lieutenant Admiral Maarten Tromp.
Willem van de Velde the Younger was a Dutch marine painter, the son of Willem van de Velde the Elder, who also specialised in maritime art. His brother, Adriaen van de Velde, was a landscape painter.
Ludolf Bakhuizen was a German-born Dutch painter, draughtsman, calligrapher and printmaker. He was the leading Dutch painter of maritime subjects after Willem van de Velde the Elder and Younger left for England in 1672. He also painted portraits of his family and circle of friends.
Adriaen van de Velde, was a Dutch painter, draughtsman and print artist. His favorite subjects were landscapes with animals and genre scenes. He also painted beaches, dunes, forests, winter scenes, portraits in landscapes, as well as mythological and biblical scenes. He belongs to a group of painters referred to as the Dutch Italianate painters, who combined Dutch agricultural landscapes with mythological or Arcadian scenes in Italian settings. His paintings are characterised by their delicate, careful composition and his mastery of lighting effects as well as the human figure.
Simon de Vlieger was a Dutch painter, draughtsman and designer of tapestries, etchings, stained glass windows. While he is mainly known for his marine paintings he also painted beach scenes, landscapes and genre scenes.
Esaias van de Velde was a Dutch landscape painter.
Willem van der Zaan was a Dutch Admiral. His name is often given in the 17th century spelling Zaen.
Adriaen van Trappen Banckert was a Dutch admiral. In English literature he is sometimes known as Banckers. His first name is often rendered in the modern spelling Adriaan. Van Trappen was the original family name, but the family was also and better known under the name of Banckert. In the 17th century Netherlands such a situation was solved by combining the two names.
Michael Strang Robinson (1910–1999) was Keeper of Pictures at the National Maritime Museum, London, England. He was an expert on the paintings of Willem van de Velde, the elder and Willem van de Velde, the younger.
Adriaen Hanneman was a Dutch Golden Age painter best known for his portraits of the exiled British royal court. His style was strongly influenced by his contemporary, Anthony van Dyck.
The naval history of the Netherlands dates back to the 15th century. As overseas trade was a traditional cornerstone of the Dutch economy, naval defence was indispensable for the protection of commercial interests.
Kingfisher was a 46-gun fourth-rate ship of the line of the Royal Navy, built by Phineas Pett III at Woolwich Dockyard and launched in 1675. She was specially designed to counter the attacks of Algerine corsairs, or pirates, in the Mediterranean by masquerading as a merchantman, which she achieved by hiding her armament behind false bulkheads. She also was provided with various means of changing her appearance.
Gerard Brandt was a Dutch preacher, playwright, poet, church historian, biographer and naval historian. A well-known writer in his own time, his works include a Life of Michiel de Ruyter and a Historie der vermaerde zee- en koopstadt Enkhuisen.
Engel Michielszoon de Ruyter was a Dutch vice-admiral.
Isaac Sailmaker was an etcher and marine painter of the Baroque period, who had a long career in England. He was referred to in contemporary books and journals as "the father of British sea painting", but was eclipsed by his contemporaries, the Dutch marine painters Willem van de Velde the Elder and his son Willem van de Velde the Younger, who for a period dominated the London market. Sailmaker was commissioned by the English Lord Protector, Oliver Cromwell, to paint the English fleet at Fort-Mardyck.
Guilliam or Willem van Nieulandt or van Nieuwelandt (1582/84–1635) was a Flemish painter, engraver, poet and playwright from Antwerp. He spent two thirds of his career in the Habsburg Netherlands and the remainder in Italy and the Dutch Republic. He is known for his Italianate landscape paintings and prints, often real views or capricci of landscapes and buildings from in or around Rome enlivened by contemporary figures or biblical or mythological scenes. He is regarded as the principal poet and playwright active in the Habsburg Netherlands in the first three decades of the 17th century.
Marine art was especially popular in Britain during the Romantic Era, and taken up readily by British artists in part because of Great Britain's geographical form. This article deals with marine art as a specialized genre practised by artists who did little or nothing else, and does not cover the marine works of the leading painters of the period, such as, and above all, J. M. W. Turner. The tradition of British marine art as a specialized genre with a strong emphasis on the shipping depicted began in large part with the artists Willem Van de Velde the Elder and his son, called the Younger in the early 18th century. The Van Veldes, originally from Holland, moved to England to work for King Charles II). By the 17th century, marine art was commissioned mostly by merchant seamen and naval officers and created by marine art specialists. In part, marine art served as a visual portrayal of Britain's power on the sea and as a way of historically documenting battles and the like. As British sea captains began to recognize the ability of marine artists to bring Britain's success on the sea to the public on land, some took on an active role in supporting this type of artwork. For example, marine artist Robert Cleveley was hired by Captain William Locker to work in HMS Thames as a clerk, and Captain Locker, interested in employing artists, is believed to have played a significant role in encouraging Cleveley to work as a marine painter. Captains would act as marine artists' patrons, commissioning them to paint portraits of themselves and pictures depicting important battles. A few significant marine artists who were supported in this way by naval officers are Nicholas Pocock, Thomas Luny, and George Chambers. William Hodges, for example, who was trained to draw at William Shipley's Academy, was hired by the Admiralty to finish his pictures from Cook's 1772 voyage for publication upon reaching home in 1775. Captains also commissioned artists to paint portraits of their ships.
Jan van de Cappelle was a Dutch Golden Age painter of seascapes and winter landscapes, also notable as an industrialist and art collector. He is "now considered the outstanding marine painter of 17th century Holland".
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