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high-keyed colours, reddish lights in the flesh tones, and a smooth, glossy finish. Huysmans was particularly skilled in rendering the rich colours and textures of sumptuous clothes worn at the court. He liked showing the interplay of light, colour and contrasting textures, crumpled satin against porcelain skin or glossy ringlets interwoven with jewel-like flowers. Huysmans had a preference for depicting his sitters in costume and with props placed in theatrical settings and including allegorical symbols. The grandeur he bestowed on his sitters evokes the work of the
Italian painter
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306:) is one of his most famous paintings, and is the one which Pepys saw in his studio and had caused him to praise Huysmans abundantly. Catherine is depicted in the guise of a shepherdess, sitting by a stream. A sprig of orange blossom in her hair symbolizes love, marriage and fruitfulness. Her left hand rests on the head of a lamb, possibly a symbol of the virtues of innocence, purity and humility. A Cupid is bringing her flowers in a large handkerchief. Other small cupids play among the trees in the background.
268:). The latter work depicts Edward Henry Lee (1663–1716), a Catholic and Charlotte Fitzroy, the illegitimate and preferred daughter of Charles II and his mistress Barbara Villiers. The two had become betrothed as children and Huysmans' painting shows the pair as children. The painting contains hidden allusions to the Catholic faith, which was illegal at the time despite Charles II’s religious tolerance. The peacock symbolizes the resurrection of Christ and Christ as a gardener.
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369:, the English poet with whom Rochester had a tense relationship. In this interpretation, Rochester's right hand is seen as removing the laurel rather than bestowing it. When someone is crowned with a laurel it would normally be done using both hands not one hand. The monkey would represent John Dryden who is being 'de-laureled' by Rochester, a threat which Rochester had made in his
241:). These portraits follow a standard format depicting Diana with a hunting spear, together with a few hounds from her hunting pack and sharply delineated drapery. The presentation was aimed to highlight the beauty, purity and chastity of the sitter. The pose of the goddess as well as the greyhounds with star studded collar are likely references to the
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The composition portrays
Rochester holding a manuscript in one hand and apparently bestowing the poet's laurels on a monkey with the other. The monkey has torn pages from a book which he is handing back to the poet. Monkeys feature prominently in Rochester's writing in which they serve as a symbol
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in the Royal
Collection of the United Kingdom. The Queen is portrayed as St. Catherine of Alexandria, with a martyr's palm in her right hand and her left resting upon the broken wheel on which the Catholic saint was martyred. The Queen was born on the feast of St. Catherine and being painted as the
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Huysmans' style has been described as exuberant, a quality that made it particularly appealing to the
Portuguese-born Queen Catherine. His style and handling of paint and application of colour are close to the Italianate Baroque style of Anthony van Dyck. His palette is characterized by the use of
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One of the most important patrons of
Huysmans was Queen Catherine of whom he painted many portraits. In 1683, Catherine also commissioned an opulent altarpiece and cupola for her Chapel in St James’s Palace in London. The quantity of portraits Huysmans painted of the Queen and her maids of honour
186:. Even after having established himself as a portrait painter to the elite, he still painted history subjects and is known to have created religious compositions for his patron Queen Catherine of Braganza. His religious and historical paintings are more sober in style than his portraits.
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Rochester is believed to have contributed important elements to the design of the composition, in particular, the monkey. Rochester is known to have kept a pet monkey, which he allegedly trained to defecate on people and probably served as the model for the painting.
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147:. This may have been to escape the threat of anti-Catholic retaliation prevalent in London at this time. Allegations that Catholics had started the fire were exploited as powerful political propaganda by opponents of pro-Catholic Charles II's court, mostly during the
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354:). The composition was likely painted not long before Rochester's death. An important variation in the copy of the portrait in the National Portrait Gallery is the addition of red shoulder tabs to his costume which has the effect of 'normalizing' the image.
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Huysmans painted many of his female sitters as shepherdesses with clothing embellished with embroidery and jewellery. He also often depicted female sitters as religious or classical figures. Three renderings of ladies in the role of the Roman goddess
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Jacob
Huysmans was principally a portrait painter. Upon his arrival in England he did, however, rely on his skills as a history painter creating small pastiches of religious and mythological scenes by
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visited the workshop of
Huysman (to whom he referred as 'Hiseman') in Westminster on 26 August 1664 and described Huysmans as a 'picture-drawer ... which is said to exceed Lilly (
54:, a Catholic like himself, of whom he painted several portraits. With his exuberant style, he was during his lifetime regarded as an important rival of the court painter
119:), and indeed there is both of the Queenes and Mayds of Honour (particularly Mrs. Stewart’s in a buff doublet like a soldier) as good pictures, I think, as ever I saw.'
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Another portrait of the Queen seen by Pepys in
Huysmans' studio was a depiction of the Queen as Saint Catherine of Alexandria of which various versions exist of which
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107:. He subsequently was able to establish himself as a portrait painter at the court of Charles II. As a Roman Catholic he was in particular favoured by the Queen
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in 1660. He is first recorded in
England in 1662. Here he first started out as a painter of pastiches in a reduced format of history paintings by
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of the folly and presumption of man. The painting could therefore be read as a satirical and self-deprecating depiction of
Rochester.
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Other interpretations of the portrait have been offered. Some art historians have posited that it should be read as a satire on
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suggest that he was her principal painter. Possibly the Queen favored Huysmans to distance herself from her husband's mistress
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Jacob Huysmans, 'Portrait of Edward Henry Lee, 1st Earl of Lichfield, and his wife Charlotte Fitzroy as children
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Oliver Millar. "Huysmans, Jacob." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 2 July 2017
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A family portrait of three aristocratic children with a sheep decorated with a floral wreath and a dog
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Family portrait of three aristocratic children with a sheep decorated with a floral wreath and a dog
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In a similar pastoral vein are situated some portraits of children by Huysmans. Examples are the
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Portrait of Edward Henry Lee, 1st Earl of Lichfield, and his wife Charlotte Fitzroy as children
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saint became a fashionable way for female courtiers to demonstrate respect to the new Queen.
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136:(of which there are various versions) were among the pictures Pepys saw on that occasion.
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Huysmans died in Jermyn Street, London, in 1696, and was buried in St. James's Church in
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Queenship in Britain, 1660-1837: Royal Patronage, Court Culture, and Dynastic Politics
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While he spent the majority of his career in London, Huysmans resided for a while in
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Edward Henry Lee, 1st Earl of Lichfield, and his wife Charlotte Fitzroy as children
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70:. A number of his family members also became artists: he was the uncle of
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Elizabeth Cornwallis, Mrs Edward Allen (d. 1708), as Diana the Huntress
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Elizabeth Cornwallis, Mrs Edward Allen (d. 1708), as Diana the Huntress
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Huysmans moved to England, according to some sources before the
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Elizabeth Cornwallis, Mrs Edward Allen, as Diana the Huntress
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Queen Catherine of Braganza as Saint Catherine of Alexandria
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Also known as: Jacob Houseman, Jacob Huisman, Jacob Huysman
654:, Manchester University Press, 15 December 2000, pp. 85–86
258:(At Dorotheum Vienna on 19 April 2016 lot 258) and the
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That Second Bottle: Essays on the Earl of Rochester
58:who favored a more sober treatment of his sitters.
38:portrait painter who, after training in his native
151:and the exclusion crisis later in Charles' reign.
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476:The Diary of Samuel Pepys, Friday 26 August 1664
332:Another well-known painting by Huysmans is the
111:, a Catholic from Portugal. The famous diarist
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463:Portrait of John Wilmot, 2nd Earl of Rochester
442:, Manchester University Press, 2002, pp. 60–61
335:Portrait of John Wilmot, 2nd Earl of Rochester
327:Portrait of John Wilmot, 2nd Earl of Rochester
318:Portrait of John Wilmot, 2nd Earl of Rochester
534:Jacob Huysmans, Portrait of a Lady, as Diana
277:Frances Stewart, later Duchess of Richmond
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225:(Canons Ashby, Northamptonshire),
16:Flemish portrait painter (d. 1696)
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352:National Portrait Gallery, London
231:(National Trust, Hatchlands) and
209:John Maitland, Duke of Lauderdale
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617:Queen Catherine as a Shepherdess
487:Porter, Stephen (October 2006).
299:Queen Catharine as a Shepherdess
122:Queen Catharine as a Shepherdess
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599:National Gallery of Victoria
338:, the famous rake, poet and
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222:Lady Elizabeth Pope as Diana
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219:by his hand are known: the
34:(c. 1633–1696) was a
26:Portrait of Queen Catharine
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489:"The great fire of London"
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133:St Catherine of Alexandria
705:Flemish portrait painters
426:Portrait of General Monck
715:Flemish Baroque painters
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143:in Sussex following the
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438:Clarissa Campbell Orr,
293:, who patronized Lely.
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284:Portraits of the Queen
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730:Catherine of Braganza
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109:Catharine of Braganza
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52:Catherine of Braganza
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189:Huysmans influenced
145:Great Fire of London
76:Jan Baptist Huysmans
371:Allusion to Horace
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302:(c. 1664, British
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184:Anthony van Dyck
127:Royal Collection
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42:, immigrated to
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48:Restoration
46:before the
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377:References
344:Charles II
199:Guido Reni
166:Piccadilly
141:Chichester
129:) and the
56:Peter Lely
131:Queen as
342:at King
340:courtier
72:Cornelis
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350:in the
177:General
68:Antwerp
44:England
40:Antwerp
36:Flemish
217:Diana
504:2006
348:copy
172:Work
117:Lely
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62:Life
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