Pridobite kopijo Portrait of Machtelt Bas (?-1681), Jacob Adriaensz Backer (attributed to), c. 1651

Machtelt Bas was a daughter of the city’s influential regent Dirck Jacobsz Bas.6 On 13 July 1632 she married Abraham de Visscher, a merchant dealing mainly in cloth from Cambrai, and one of the directors of the Dutch West India Company (WIC). Both spouses are included in Dirck van Santvoort’s likeness of Dirck Jacobsz Bas and his second family of around 1635,7 which confirms the identity of the woman in this canvas and the man’s in another one in the Rijksmuseum (SK-A-589; also fig. a). In addition, an old label on the back of the latter work states the marital status of the couple.8 The two paintings belong to a collection of 23 family portraits bequeathed to the museum in 1823 by Johanna Balguerie-van Rijswijck.9 As happened with other pictures in the group, the sitters’ coats of arms were added in the eighteenth century.10 Both portraits have been assigned to Abraham van den Tempel in the museum’s catalogues since 1880,11 but were in the recent past transferred to Jacob Backer on convincing stylistic grounds by Van den Brink.12 The lighting, the background with the red curtain and the virtuoso imitation of textures in De Visscher’s likeness have distinct parallels in Backer’s monogrammed Portrait of a Man in Kassel.13 They are among the artist’s very last output. The clothing points to a date around 1650,14 and the unfinished state of Bas’s picture, in particular, could be due to Backer’s sudden death in 1651. An old label on the present portrait states that it was completed after Machtelt Bas discovered her husband dead beside her in bed.15 The meaning of that annotation is ambiguous, though, because it is patently obvious that it is a painting in process. The suggestion was raised that only Bas’s face was accomplished in 1667, possibly by Van den Tempel,16 but leaving aside the initial stages of the hands and dress, her physiognomy, too, is not finalized yet, as can be seen from the minimal modelling and the absence of a standard detail like a catchlight in the right eye.17 De Visscher’s portrait, on the other hand, is in a far more advanced state. Van den Brink suggested that a vista of a landscape still had to be added to the background to match the one in Bas’s likeness, which he regarded as completed.18 However, the artist took great care over the subtle lighting around the man’s contours which, like Backer’s aforementioned picture in Kassel, is remarkable in its contribution to the spatial effect, which does indicate that the work is finished. Furthermore, Backer is known to have given pendant pairs different backgrounds.19 The descriptions of both portraits in the museum’s collection catalogues suggest that there was a considerable change in their sizes between 1887 and 1897, and that the painting of Machtelt Bas was even given a different support.20 Since the two works display not a trace of such drastic alterations, the data must have been wrong from the outset. It is also remarkable that they were listed as pendants only in 1880, having been catalogued separately before then. This may have been due to the striking difference in the state of finish and in the size of the sitters, for De Visscher takes up more of the picture space than Bas does. Gerbrand Korevaar, 2023 See Key to abbreviations, Rijksmuseum painting catalogues and Acknowledgements

Biografija umetnika

Jacob Adriaensz Backer: The Rapid Master of Amsterdam

Jacob Adriaensz Backer (1608-1651) stands as a singular figure in the Dutch Golden Age, celebrated primarily for his astonishing speed and precision in portraiture – a feat that cemented his reputation as one of the era’s most prolific artists. Born in Harlingen, Netherlands, he experienced a formative childhood marked by his father's relocation to Amsterdam following his wife’s untimely death, immersing him in the bustling artistic environment of the city. This early exposure undoubtedly nurtured his talent and propelled him toward a distinguished career that would leave an indelible mark on Dutch art history.

Early Training & Influences: Backer's artistic journey began under the tutelage of Lambert Jacobsz, a Mennonite teacher who instilled in him a foundational understanding of religious painting techniques. Notably, he studied alongside Govert Flinck, another Mennonite pupil and collaborator, fostering connections within a vibrant intellectual community that valued craftsmanship and moral integrity. These formative influences would shape his stylistic sensibilities, particularly evident in his depictions of biblical narratives.
Amsterdam & Hendrick Uylenburgh: Moving to Amsterdam around 1633, Backer found patronage with Hendrick Uylenburgh, a wealthy merchant who recognized Backer’s exceptional abilities and commissioned numerous portraits. This association provided invaluable opportunities for artistic development and solidified Backer's position as a leading portraitist of his time.
Technique & Style: Backer’s fame rests largely on his revolutionary “wet-on-wet” technique – a method pioneered in Haarlem that allowed artists to capture fleeting expressions and textures with remarkable immediacy. As Joachim von Sandrart famously recounted, a woman could arrive from Haarlem and depart the same day, leaving behind a portrait completed with breathtaking speed and detail. This technique, coupled with his meticulous observation of anatomy and drapery, resulted in portraits imbued with an unparalleled sense of realism and psychological insight.

A Virtuoso Painter Beyond Portraits

While Backer’s portraiture undoubtedly captivated audiences, he was equally adept at tackling ambitious projects in other genres. His canvases explored themes from contemporary history – Granida and Daifilo – demonstrating his willingness to engage with pressing social and political concerns of the era. Furthermore, he produced stunning mythological paintings, reflecting a broader artistic engagement with classical ideals and narratives. Backer’s masterful handling of color and composition showcased his versatility as an artist and cemented his legacy as a true innovator within the Dutch Baroque tradition.

Religious Subjects: Backer's devotion to religious art is palpable in his numerous depictions of biblical scenes, characterized by serene compositions and luminous colors.
Mythological Visions: His explorations of mythological themes – particularly the crowning of Mirtillo – reveal a fascination with classical mythology and its enduring influence on artistic expression.

Legacy & Recognition

Jacob Adriaensz Backer’s contribution to Dutch art is undeniable, producing approximately 140 paintings in just twenty years—a remarkable output for his time. His meticulous attention to detail and unparalleled speed in portraiture earned him considerable acclaim during his lifetime, as evidenced by Joachim von Sandrart's astute observation regarding the Haarlem-Amsterdam journey. Backer’s work continues to inspire admiration for its technical brilliance and emotional depth, securing his place among the most celebrated artists of the Dutch Golden Age—a testament to his enduring artistic vision.

jacob adriaensz backer

1608 - 1651 , Netherlands

Hitri podatki

Artistic Movement Or Style: Golden Age painting
Artists Or Movements Influenced By This Artist: ['Rembrandt']
Artists Who Influenced This Artist:
- Wybrand de geest
- Rubens
- Abraham Bloemaert
Date Of Birth: Harlingen, Netherlands (1608)
Date Of Death: 1651
Full Name: Jacob Adriaensz Backer
Nationality: Dutch
Notable Artworks: ['Portrait of Machtelt Bas']
Place Of Birth: Netherlands

Portrait of Machtelt Bas (?-1681), Jacob Adriaensz Backer (attributed to), c. 1651

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