In short
Of all the originals Bernard Accama left, the most famous is Portrait painting of Frans Julius Johan Heringa van Eysinga (1710), in the collection of the Fries Museum, Leeuwarden. Close behind it come Portrait of Campegius Vitringa (Sr) (1722) and Portrait of Unknown Woman (1719). Our catalog holds 46 works by Bernard Accama; the gallery has kept the 46 the world admires most, each shown with its date, its museum and its story.
Bernard Accama's top 10 paintings: the gallery's choice
The Bernard Accama selection continues, 11 to 46
The museums that keep Bernard Accama's originals
The 3 museums that hold the most of the paintings on this page.
| Museum | City | Works by Bernard Accama | Paintings from this list |
|---|---|---|---|
| Leeuwarden | 37 | Portrait painting of Frans Julius Johan Heringa van Eysinga, Portrait of Campegius Vitringa (Sr), Portrait of Unknown Woman | |
| Arnhem | 6 | Portrait of a man, probably Hans Willem van Aylva (1695-1722), Portrait of a woman, probably Agatha Wilhelmina van Aylva (1690-1763), Portrait of a man, probably Hans Willem van Aylva (1722-1751) | |
| Amsterdam | 1 | Portrait of Judith Willink (1679-1747) |
Bernard Accama decade by decade: the original that defines each
Works per decade
Pick a decade to see the original that defines it.
Collectors' questions about Bernard Accama's paintings
Which work is Bernard Accama most famous for?Reveal the answer
Portrait painting of Frans Julius Johan Heringa van Eysinga (1710), Fries Museum, Leeuwarden. Portrait of Campegius Vitringa (Sr) (1722) and Portrait of Unknown Woman (1719) come next.
What age was Bernard Accama when Portrait painting of Frans Julius Johan Heringa van Eysinga was made?Reveal the answer
14 years old: Portrait painting of Frans Julius Johan Heringa van Eysinga dates from 1710, and Bernard Accama was born in 1696.
What are the ten most famous Bernard Accama paintings?Reveal the answer
Portrait painting of Frans Julius Johan Heringa van Eysinga, Portrait of Campegius Vitringa (Sr), Portrait of Unknown Woman, Portrait of Tedt Sophia van Goslinga, Portrait of Gosewijn Theodoor van Coehoorn (1678-1737), Portrait of a man, probably Hans Willem van Aylva (1695-1722), Portrait of an Unknown Woman, Family Portrait of Court Architect Coulon, Portrait of Campegius Vitringa and Portrait of Martinus van Scheltinga (1666-1742). The ranking above gives each one's year and museum.
How many paintings did Bernard Accama leave?Reveal the answer
Our catalog holds 46 works by Bernard Accama, dated from 1710 to 1756.
In which museums do Bernard Accama's masterpieces hang?Reveal the answer
Mostly in Fries Museum (Leeuwarden), Huis Zypendaal (Arnhem) and Amsterdam Museum (Amsterdam). The museum table above lists them all.
In which years did Bernard Accama paint the most famous works?Reveal the answer
In 1750s: 15 of the 46 works on this page were made then, Portrait of Ds. Hesseling among them.
What are the first and the last famous originals of Bernard Accama?Reveal the answer
On this page, the earliest is Portrait painting of Frans Julius Johan Heringa van Eysinga (1710) and the latest Portrait of Johanna Geertruid Juliana van Sytzama (1756).
Which Bernard Accama works hang at the Fries Museum?Reveal the answer
Portrait painting of Frans Julius Johan Heringa van Eysinga, Portrait of Campegius Vitringa (Sr) and Portrait of Unknown Woman: the Fries Museum, Leeuwarden holds 37 of the works on this page.
Bernard Accama: life and work
The Legacy of Bernard Accama
In the golden twilight of the eighteenth century, the Dutch landscape was defined not only by its sweeping canals and industrious spirit but by a refined class of nobility seeking to immortalize their lineage through the brush. Among the most skilled hands of this era was Bernard Accama, an artist whose life and work became deeply intertwined with the Frisian elite. Born in the quiet province of Friesland around 1697, likely in the village of Burum, Accama emerged from a family of distinction; he was the son of Simon Accama, a local church minister, and Aeltje Boetes Nievelt. This upbringing in a scholarly and religious environment likely provided the foundational discipline required to master the intricate demands of historical and portrait painting.
Accama’s journey as an artist was one of both prestige and profound loss. Settling much of his life in Leeuwarden, he ascended to the heights of professional recognition, earning the trust of the highest echel m of Dutch society. His talent was such that he secured prestigious commissions from William IV, Prince of Orange, a feat that placed him at the very heart of political and social importance. As a portraitist, Accama possessed a unique ability to capture the dignity and character of his subjects, translating the status of the Frisian aristocracy into enduring visual legacies. His technical prowess was not merely a personal achievement but a familial one, as he served as both brother and instructor to the painter Matthijs Accama, fostering a small but significant lineage of artistic skill.
A Vanished Splendor
Despite the brilliance of his career, the historical record of Bernard Accama is marked by a poignant sense of absence. While his reputation as a master of portraiture and historical scenes was well-established during his lifetime, much of his physical oeuvre was tragically lost to the tides of history. The Revolution of 1795 brought about significant upheaval in the Netherlands, and in the chaos of this transformative period, many of Accama’s most significant works vanished. This loss creates a sense of mystery surrounding his complete body of work, leaving art historians to piece together his genius through surviving fragments and historical accounts.
What remains of his legacy allows us to glimpse the elegance of an era long passed. His ability to navigate the complexities of historical painting—a genre requiring deep knowledge of narrative and classical composition—alongside the intimate psychological depth of his portraits, marks him as a versatile master of the Dutch tradition. Though many of his canvases may no longer grace the halls of museums, the shadow of his influence persists in the study of Frisian art history, reminding us of a time when the brush was a powerful tool for defining identity, power, and the enduring human spirit.










