Artista: Cornelis Van Der Voort
Encontro: 1610
Tamanho: 68 x 52 cm
Técnica: Oil On Panel
This bust-length portrait shows Pieter Dircksz Hasselaer, captain in the Amsterdam civic guard, magistrate, merchant, shipowner, one of the founders of the Compagnie van Verre (Company of Distant Lands) in 1594 and director of the Dutch East India Company.3 He was born in Haarlem, where he was an ensign in the civic guard in 1572-73, during the Spanish siege of the city. He was living in Amsterdam in 1583. After the death of his first wife, Aecht Pietersdr van Persijn van Beverwaerde, he married Margriet Benningh. His eldest son was Dirck Hasselaer.4 In the 19th century several attempts were made to attribute this painting variously to Hendrick Goltzius,5 Paulus Moreelse6 and Werner van den Valckert.7 A publication by Van Dam van Isselt in 1919 made it clear that there are three versions of this portrait, the one in Muiden being the superior in quality.8 The Amsterdam work, with its orange flesh tones, the eyes that are much too large and the clumsily painted ruff, is definitely a copy, either of the Muiden portrait or of an earlier version. None of the known versions is signed. At first it was thought that the painting in Muiden was by Werner van den Valckert,9 but nowadays it is attributed to Cornelis van der Voort.10 Van der Voort is indeed the most likely of the two on the evidence of the affinity with the signed portrait of Jan van den Hoek of 1624.11 As yet it is impossible to suggest an attribution for the Rijksmuseum painting. Another problem is the portrait of Hasselaer’s wife Margriet Benningh (SK-A-1245), which is attributed to Nicolaes Eliasz Pickenoy and is regarded as the pendant of this one. That portrait is a copy of the painting hanging in Muiden as the companion piece to the painting of Hasselaer. That Muiden version is dated 1629, and was thus made 13 years after Hasselaer’s death. Margriet’s portrait was evidently painted to accompany an earlier portrait of her husband, although it is worth noting that she is seated considerably closer to the picture plane than Hasselaer. Since the copies in the Rijksmuseum are clearly by different hands, they were probably painted to commemorate different occasions. Gerdien Wuestman, 2007 See Bibliography and Rijksmuseum painting catalogues See Key to abbreviations and Acknowledgements This entry was published in J. Bikker (ed.), Dutch Paintings of the Seventeenth Century in the Rijksmuseum Amsterdam, I: Artists Born between 1570 and 1600, coll. cat. Amsterdam 2007, no. 325.
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