From the Library: The Book Illustrations of Romeyn de Hooghe September 13, 2014 – January 25, 2015 National Gallery of Art From the Library: The Book Illustrations of Romeyn de Hooghe Romeyn de Hooghe (1645 – 1708) has been called one of the greatest artists to come out of the late Dutch Golden Age. He was certainly one of the most prolific, producing over 3,500 prints. Yet we know little about his life and scholars have only recently begun to give him much attention. Born in 1645 in Amsterdam to a button maker and his wife in apparently comfortable circumstances, de Hooghe came of age just as the European baroque was beginning to wind down. He was active from roughly 1670 to 1715 — the early part of a period sometimes referred to pejoratively as the Pruikentijd (periwig era) when the Dutch Republic fell into decline. Dutch artists of the late seventeenth century have often been viewed as standing on the shoulders of masters like Rembrandt van Rijn (1609 – 1669), Johannes Vermeer (1632 – 1675), and Frans Hals (c. 1582/1583 – 1666) rather than continuing to innovate. Some scholars, however, now see this period as important to understanding both the transition from the baroque artistic style to the French rococo, which became dominant in the eighteenth century, and the broader cultural emergence of Enlightenment ideals. Romeyn de Hooghe in many ways embodies both of these shifts and can help us to understand the Dutch influence on these developments. Rather than being simply derivative, de Hooghe was incredibly learned and created his own visual lan- guage based on his study of allegory, religion, and classical texts. He is also considered to be an important figure in the development of modern political satire, because he crafted overtly propagandistic imagery in ways that had not been seen before. During his lifetime de Hooghe was noted for his paintings, sculpture, coins, and decorative arts, as well as for his status as a scholar, author, publisher, art dealer, and lawyer. However, because many of his works do not survive, it is primarily as an etcher and book illustrator that we know him today. Where and with whom he trained remains a mystery, but he was certainly influenced by Rembrandt, Sir Peter Paul Rubens (1577 – 1640), and other important Golden Age artists. In turn de Hooghe influenced a great number of printmakers and illustrators of the early eighteenth century, including Adriaan Schoonebeek (c. 1658 – 1714) and Frans Decker (1684 – 1751). He trained many of the next generation himself, first in his Amsterdam studio and later at the popular drawing school he opened in Haarlem. Throughout his career de Hooghe provided illustrations for scholarly Frontispiece etching for “De Ystroom” in Johannes Antonides van der Goes, Gedichten, Amsterdam, 1685, David K. E. Bruce Fund. 3 works like emblem books and literature, works of piety, history, and cartography, and even festival books and political satire and commentary, some of which he also authored. His style of illustration is characterized by loose, sketchy lines (sometimes described as poorly drawn), strong contrasts of light and shadow, and the creation of depth and space within his plates by using either progressive etches or differently sized needles to divide them into fore, middle, and background. His earliest known works are a series of etchings after Nicolaes Berchem (1620 – 1683) dated 1662, but it was in 1667 that he first began doing commissioned work. De Hooghe rose to prominence in the 1670s, helped in no small part by the patronage of William iii, Prince of Orange-Nassau. Following a long period in which the Dutch Republic functioned without a stadholder, William rose to that position in 1672 when a military leader was needed to repel an invasion by the French army under Louis xiv. William’s success in this campaign gave him a great deal of power within the Dutch Republic, but also set him up as the defender of Protestant Europe against Louis xiv and other catholic monarchies throughout the continent, something de Hooghe promoted with his propagandistic prints. It is likely that despite his influence and political connections, however, politics also played a role in de Hooghe’s descent into obscurity, until scholars in the late-nineteenth century revived interest in his work. His entanglement in the pamphlet war of 1690 sullied his reputation, and early biographers such as Jacobus Houbraken (1698 – 1780) published the libelous attacks against de Hooghe found in these pamphlets as fact. This, combined with a general attitude toward late seventeenth-century Dutch art as being of lesser quality than the work of earlier masters, caused one of the greatest artists of the late Dutch Golden Age to be forgotten for nearly two hundred years. This exhibition aims to shed light on de Hooghe’s work by providing a survey of his book illustrations. All etchings are designed and executed by Romeyn de Hooghe unless otherwise noted. All books are from the National Gallery of Art Library. 4 Festivals and News Prints 1 Intrede van zyn Majesteit door de Zeegeboog voor t’ Hof, etching in Govard Bidloo, Komste van Zyne Majesteit Willem iii. Koning van Groot Britanje, enz. in Holland, The Hague, 1691, David K. E. Bruce Fund Domestic politics in seventeenth-century Holland were mainly defined by the dichotomy between republicans, who favored provincial sovereignty, and Orangists, who supported the House of Orange-Nassau as a de facto monarchy through the office of stadtholder. De Hooghe was in the latter camp, and in 1672 he supported the movement to put William iii (1650 – 1702), Prince of Orange, in that office. Fifteen years later, when William embarked on a plan to replace James ii as king of England, de Hooghe was instrumental in the propaganda campaign that helped to secure the support of the Dutch public and to raise an invasion army. Following his successful Glorious Revolution in 1688, William was installed as king by the English parliament the following year, an event commemorated by de Hooghe. When William returned to the Netherlands in 1691, he was greeted in The Hague with a spectacular triumphal entry, and de Hooghe was tapped to design struc- tures for the event including several arches adorned with paintings depicting William’s military successes and political accomplishments. De Hooghe also executed a series of etchings that were published in the account of the event written by Govard Bidloo (1649 – 1713) shown here. 5 2 Ignum nocturna hilaria, etching in Divo et invictissimo Leopoldo I. P. F. A. fidei in Hungaria assertori, rebellium dormitori, Turcarum debellatori ob Budam septimò inexpugnabilem armis vic- tricibus occupatam, ignes triumphales Bruxellis extructos dedicant consecrant[que] fama et Gloria, c. 1686, Nell and Robert Weidenhammer Fund (front cover) De Hooghe produced illustra- tions of important affairs out- side the Netherlands as well. Though less historically accu- rate the further an event was from home, the artist was adept at capturing the spirit of the occasion in a way that would clearly communicate it to his local audience. This is a series of nine large prints depicting the festivities in Brussels celebrating Leopold i, Holy Roman Emperor (1640 – 1705), and his capture of the city of Buda, Hungary from the Turks in 1686. Shown here is one of two illustrations of the massive fireworks display executed for the event. 3 Jacob Peeters after Romeyn de Hooghe, Triumfante intree van S. K. M. in Tent des Grooten Vizir, etching, Antwerp, c. 1692, David K. E. Bruce Fund De Hooghe executed a series of etchings recording the Battle of Vienna in September 1683 that were pubished in Brussels the following year in an account by Johann van Ghelen (1645 – 1721) called Relation succincte et véritable de tout ce qui s’est passé pendant le siège de Vienne. . . . Later these prints were copied by the Antwerp engraver and printer Jacob Peeters (1637 – 1695) and published in the volume shown here, which is composed of seven print series. After two years under siege by Ottoman forces, Vienna was finally relieved by the combined forces of the Holy Roman Empire and the Polish-Lithuanian Common- wealth in a battle marking the beginning of the political hegemony of the Hapsburg dynasty in central Europe and the stagnation of Ottoman influence in the region. Here Leopold i makes his triumphant entry into the tent of Grand Vizier Merzifonlu Kara Mustafa Pasha at battle’s end. 6 The Moral and Learned Life 4 Frontispiece etching in Frans van Hoogstraten, Het Voorhof der Ziele, Rotterdam, 1698, David K. E. Bruce Fund Emblem books were an important literary genre in sixteenth- and seventeenth- century Europe. Combining verse and image, these works often focused on conduct, and provided moral or religious instruction. One of de Hooghe’s earliest commissions was to illustrate The Temple of the Soul by Frans van Hoogstraten (1632 – 1696), originally published in 1668 with sixty etchings integrated with the text. De Hooghe maintained a fruitful partnership with Hoogstraten through- out his career, but apparently this book was not a bestseller. Thirty years later, another printer issued this “second edition” using the leftover copies and replacing only the title page; de Hooghe’s allegorical frontispiece shown here, the preface, and the final page of text all still bear the 1668 publication date. 5 Von dem Himmel, und der Erde, etching in Romeyn de Hooghe, Hieroglyphica, oder Denk- bilder der alten Völker, namentlich der Aegyptier, Chaldäer, Phönizier, Jüden, Griechen, Römer . . . , Amsterdam, 1744, J. Paul Getty Fund in honor of Franklin Murphy (back cover) In the seventeenth century, Egyptian hieroglyphs were assumed to be emblematic images, and scholars interpreted them as they would their own literature. De Hooghe produced both the text and illustrations for this study of the iconography of the ancients and expanded it to include classical mythology and religions from around the world, even satirizing Catholic symbols. First published decades after his death in a Dutch edition of 1735, and later in this German edition of 1744, this work illuminates the artist’s seemingly uncanny ability to reduce the content of entire tomes to a single allegorical image. This skill is exemplified by his numerous decorative frontispieces, an oeuvre which includes all manner of books — history, religion, literature, politics, and even cartography — and reveals an erudite mind and vast knowledge of various subjects. 7 6 Frontispiece etching for “De Ystroom” in Johannes Antonides van der Goes, Gedichten, Amsterdam, 1685, David K. E. Bruce Fund In 1685 de Hooghe was commissioned to design illustrations for this edition of the col- lected works of Johannes Antonides van der Goes (1647 – 1684), one of the greatest poets of the late seventeenth century, who died of tuberculosis at only thirty-seven years old. De Hooghe took special care with one poem in particular, the author’s most famous work. “De Ystroom” describes a walk along the canals in Amsterdam, glorifying the city’s techno- logical and cultural advances. Etchings appear at the beginning of each of the four parts of the poem, and there is also a frontispiece for the entire work, shown here. Rather than depicting actual locations in Amsterdam, as described in the poem, de Hooghe uses the motif of a river god as an allegory for the mastery of water that helped the Dutch Republic become a global economic and military power in the seventeenth century, and that helped Amsterdam in particular to become the most important port in northern Europe. 7 Two Figures Wrestling, etching in Nicolaes Petter, Klare Onderrichtinge der Voortreffelijcke Worstel-konst, Verhandelende hoemen in alle voorvallen van Twist in Handtgemeenschap, sich kan höeden, Amsterdam, 1674, David K. E. Bruce Fund Nicolaes Petter (1624 – 1672) was the self-defense teacher at a school for young gentlemen in Amsterdam. De Hooghe visited the school and produced a series of drawings of men in various wrestling poses. The drawings were subsequently turned into etchings and com- bined with written descriptions of the techniques to form one of the most important European treatises on unarmed combat ever produced. The title page credits Petter with inventing the techniques, but the author of the text is unknown. The illustrations are divided into thirteen sections, each with between two and twelve plates, depicting the combatants in various fighting scenarios and set in different landscapes and costumes. 8 8 Unknown artist after Romeyn de Hooghe, etching in Chertablon, Maniere de se bien preparer a la mort par des considerations sur la cene, la passion, & la mort de Jesus-Christ, Antwerp, 1700, David K. E. Bruce Fund In the tradition of ars moriendi that began in the sixteenth century, this book shows the path to a good death through a series of meditations on the Last Supper, the Pas- sion, and the death of Christ. Each print depicts a man contemplating a religious image accompanied by an appropriate verse of scripture and textual commentary. Though de Hooghe was a Protestant, this work is aimed at a Catholic audience and demonstrates his willingness to take commissions regardless of his own political or religious beliefs. These forty-two engrav- ings were first done for David de la Vigne’s Miroir de la Bonne Mort published in Ant- werp in 1673. The artist was still working in 1700, but because the plates in this work are unsigned and several are reversed from the earlier versions or have other minor differences, they were likely copied by another artist. 9 Etching in Antonius van Dale, De oraculis veterum ethnicorum dissertationes duae, Amsterdam, 1700, David K. E. Bruce Fund The first edition of this treatise on pagan oracles by Antonius van Dale (1638 – 1708) was published in 1683 in Latin with only a frontispiece and a single folding plate by de Hooghe. When a Dutch translation was issued in 1687, however, six additional folding plates de- signed by de Hooghe were added. The much expanded second Latin edition shown here includes these additional plates along with one more by a different artist. With such lim- ited illustration for so dense a theological text, de Hooghe uses the foreground, middle ground, and background to create a narrative space where multiple scenes within one plate show how learning and wisdom can overcome the deceptions of hypocrisy and ambition and lead to happiness. 9 History and Civic Pride 10 Romeyn de Hooghe after J. G. Rudolphi, Desenberga prope Warburgum, etching in Ferdi- nand von Fürstenberg, Monumenta paderbornensia, ex historia romana, francica, saxonica eruta, et novis inscriptionibus, figuris, tabulis geographicis & notis illustrate, Amsterdam, 1672, David K. E. Bruce Fund Early in his career de Hooghe provided illustrations for this history of the Prince-Bishopric of Paderborn (a semi-autonomous Catholic region in what is today the German state of North Rhine-Westphalia) by Ferdinand von Fürstenberg (1626 – 1683), who was the bishop there from 1661 until his death. Unlike the majority of his work, de Hooghe did not design the illustrations himself, but instead made etchings after drawings by another artist, J. G. Rudolphi (dates unknown). The first edition of 1669 contains only five etchings, of which two are maps, but the second edition was expanded with eighteen additional illustrations, including the view of the castle ruins of Desenberg on the outskirts of the town of War- burg shown here. 11 View of Dordrecht, etching in Matthys Balen, Beschryvinge der stad Dordrecht, Dordrecht, 1677, David K. E. Bruce Fund With the end of the Eighty Years War in 1648, the Dutch Republic finally gained official recog- nition as an independent state, and a Spanish embargo was lifted that allowed Dutch trade to flourish. As the republic became an economic power in Europe, a sense of civic pride and a renewed interest in Dutch history was kindled in its citizenry. Provinces united in common struggle now fostered rivalries, and the production of elaborate provincial and city guides and histories became popular in the latter half of the seventeenth century. After his death, de Hooghe’s etchings were used to illustrate an edition of Schirivelius’s description of Haar- lem, but the description of Dordrecht by Matthys Balen (1611 – 1691) shown here is the only city guide that de Hooghe was specifically commissioned to illustrate. 10