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EGBERT van HEEMSKERCK
Haarlem 1634/5 ~ 1704 London
Egbert van
Heemskerck, a Dutch painter and draughtsman, was apparently trained under the history painter, Pieter de Grebber. For a while Heemskerck lived in Haarlem, moving to
Amsterdam during the 1650s. He also spent time in Weesp and near The Hague before moving to England in 1674–75 where he spent time in London and Oxford. Heemskerck's earliest works, illustrating genre and peasant scenes of men and women smoking, drinking and playing cards, show the influence of the realist Dutch school led by Adriaen Brouwer.1 However, many artists, including Heemskerck, also chose the theme of 'Preacher and Audience' as a subject. Seventeenth century England was the age of 'upstart' prophets including the Quakers led by George Fox, and Heemskerck, after his move to London, set a trend for painting the theme of Quaker meetings in a somewhat low-life manner. One of these is in the Royal Collection at Hampton Court.2
Our oil sketch on paper depicts the northern tradition of
celebrating the Epiphany, or Twelfth Night. This event was specially treasured by the people of Europe as it celebrates the visit of the Three Kings, to Bethlehem, bearing gifts for the Christ Child. It marks the
end of the twelve days of Christmas and used to be observed as a time of great merry-making. The celebrations used to include a cake decorated with stars, castles, kings, dragons, palaces and churches, and with a
bean, or coin, baked into it. Whoever received a slice containing the bean, either chose or became the king or queen of the night. Once crowned, the king or queen would choose his or her courtiers. This subject,
which first appeared in Flemish painting, was popular in northern Europe throughout the seventeenth century and lasted until the middle of the 19th century in England.3 Our sheet shows the royal personality overcome by his celebration of the event, much to the amusement of all those present.
Our sketch is a fine example of Heemskerck's late style where the figures are described in broad, fluid brush strokes. The characteristic chiaroscuro, or intense play of light and shade, gives the
whole scene a subtle, warm, glowing effect. It is as if an unseen hearth is the only source of light. Sketching in oils on paper was a popular technique in sixteenth and seventeenth century Flemish workshops,
especially those of Frans Floris, Otto van Veen and Peter Paul Rubens. However, it was rare in Holland which makes this work particularly interesting.
1. W. Bernt, The Netherlandish Painters of the 17th Century, Vol. II, London, 1970, p.53.
2. F. Saxl, 'The Quakers' Meeting', Journal of the Warburg & Courtauld
Institutes, VI, 1943, pp. 214–216
3. Laurence Whistler, The English Festivals, London, 1948, pp. 76–79.
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