Willem van Mieris(Leiden 1662 – 1747 Leiden)

How to cite
Bakker, Piet. “Willem van Mieris” (2020). In The Leiden Collection Catalogue, 3rd ed. Edited by Arthur K. Wheelock Jr.
and Lara Yeager-Crasselt. New York, 2020–23. https://www.theleidencollection.com/archive/ (archived December2023).
A PDF of every version of this biography is available in this Online Catalogue's Archive, and the Archive is managed bya permanent URL. New versions are added only when a substantive change to the narrative occurs.

Willem van Mieris was born in Leiden on 3 June 1662. He was the second son of the painter Frans van Mieris the Elder(1635–81) and Cunera van der Cock (1629/30–1700). Like his older brother, Jan van Mieris (1660–90), Willem toobecame a painter. Naturally, both sons were instructed by their father, and according to Jacob Campo Weyerman (1677–1747), who knew Willem personally, the latter was so advanced that after his father’s sudden death in 1681, he was able
to “to stand on his own two artistic feet.”[1] It is highly likely that Frans was the only teacher of Willem and Jan, and thetwo brothers presumably took over their father’s workshop upon his untimely death. If this was indeed the case, Willem
was probably in charge, given that he was the first of the two to join the Guild of Saint Luke in Leiden, on 21 June 1683;
Jan followed suit three years later. The brothers seem to have had a good relationship, as Jan witnessed the banns of hisbrother’s marriage to Agneta Chapman (1663–1744), the daughter of a surgeon, on 21 April 1684.[2]By all accounts, Willem van Mieris’s career was remarkably successful. His standing was such that he sat on board of theGuild of Saint Luke a number of times.[3] Moreover, together with Jacob Toorenvliet (1640–1719) and Carel de Moor(1655–1738), he founded the Leiden Tekenacademie (Drawing Academy)—no later than 1694 but probably already in the1680s—which he led with De Moor until 1736.[4] Although his enrollment at the Leiden University on 22 December 1695
was not related to an academic course of study (he was then thirty-three years old), Van Mieris was, in fact, learned.[5]Nothing is known about the books he owned, but it is plausible that a significant share of the library that was auctioned
after the death of his son Frans in 1764 had previously belonged to him. He also seems to have dabbled in the theoreticalside of his craft, though his writings on painting likely were intended solely for his own use, for there is no indication thatthey were ever published.[6]Willem’s social position mirrored his success as a painter. His work was highly sought after, and he generally charged steep
prices for it.[7] In 1705, he could even afford to buy a house on the elegant Breestraat, where he would live for theremainder of his life. He also never had a shortage of important patrons, “the most notable among whom are Madam© 2024 The Leiden Collection

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Page 2 of 7Oortmans and the Honorable Mister Pieter de la Court van der Voort.”[8] “Madam Oortmans” was Petronella de la Court(1624–1707), a first cousin of the father of Pieter de la Court van der Voort (1664–1739) and a great art lover.[9] She was
the first leading buyer of Van Mieris’s work, especially in the early years of his career. At her death in 1707, she owned sixworks by him.[10] Moreover, he painted three miniature pictures for her famous dollhouse. By far his most important
benefactor, however, was the wealthy Leiden cloth manufacturer Pieter de la Court van der Voort, who engaged Van
Mieris for numerous commissions, chiefly after 1700. De la Court owned fifteen of the artist’s works, which fetchedamounts ranging from 60 to 1,600 guilders.[11] He paid the latter sum in 1709 for Van Mieris’s Armida Binding the Sleeping
Rinaldo, to which Weyerman, who had seen the picture, gave the highest praise.[12]De la Court also commissioned Van Mieris to copy pictures by Gerrit Dou (1613–75) and by his father, Frans van Mieris
the Elder (whose original works were difficult to come by in these years), among others.[13] De la Court also had him
finish, touch up, or add figures to paintings in his own collection, which ultimately numbered 215 works. The work
Willem carried out for De la Court was not limited to painting alone. For example, he designed and modeled four
handsome, monumental garden vases with bas-reliefs around 1703 for his patron’s house on the Rapenburg.[14]De la Court’s patronage ended abruptly in 1731: that year marked the beginning of a profound and protracted conflict
between the De la Court and Backer families, which had become closely interwoven through marriage.[15] While Van
Mieris regularly received commissions from the Backers, this was negligible in comparison to his work for De la Court.[16]It is therefore difficult to understand why Van Mieris sided with the Backer family. This choice, however, is illustrative ofhis social position and artistic success. Although De la Court was clearly his most important benefactor, Van Mieris was
not dependent solely on his patronage; he worked for many other art lovers, some from the very highest circles.[17]The most striking illustration of Van Mieris’s wide recognition is his contact with several foreign princely art collectors.
The Archbishop of Mainz and Elector of the Holy Roman Empire, Lothar Franz von Schönborn (1655–1729), forexample, was a great lover and collector of Dutch painting. He ordered a few works from Van Mieris and kept up anextensive personal correspondence with the painter about the desired result.[18] Duke Anton Ulrich von BraunschweigWolfenbüttel (1633–1714) also collected Dutch masters and was one of Lothar Franz’s fiercest competitors in acquiring
the very best works. Just like his rival, Anton Ulrich highly valued Van Mieris and visited him in his workshop on one of
his trips to the Dutch Republic.[19] Count Christoph August von Wackerbarth (1662–1734), a high-ranking German
military man and confidant of the Polish king Friedrich August, courted the artist as well.[20] Weyerman gives an amusing
account of Von Wackerbarth’s unremitting attempts, after visiting the collection of Pieter de la Court in 1703, to buy an
earlier version of the above-mentioned Armida Binding the Sleeping Rinaldo from the cloth manufacturer. He finallysucceeded in doing so by paying an exceptionally high price. Van Mieris garnered great fame with his depiction of thissubject based on an epic poem by Torquato Tasso (1544–95), four versions of which are known.[21] The most unusual one
is the portrait of the German envoy Daniel Meinertzhagen (1675–1730) in the role of Rinaldo and his wife, Amelia vanStockum (1677–1743), as Armida. The satisfied customer paid Van Mieris a hefty “300 goude pistoolen” (300 goldpistoles) for this portrait historié.[22]Van Mieris never lacked for orders, even when his sight diminished at the end of his life. He was certainly one of the most
famous painters of his time, which explains why De la Court, rather than Van Mieris, bitterly lamented the rift between
the former friends in 1732.[23] Fortunately, Van Mieris outlived De la Court; had he not, the news that the painter had diedin the Backers’ country house, of all places, would certainly have pained his former patron.[24] A fatal cold took Van© 2024 The Leiden Collection

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Page 3 of 7

Mieris’s life at Backershagen in Wassenaar on 26 January 1747; he was eighty-four years old. The following day, his bodywas transferred to Leiden, where he was buried in a grave in the Pieterskerk that he had bought for himself in 1731.[25]- Piet Bakker, 2017; revised in 2020

© 2024 The Leiden Collection

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Page 4 of 7Endnotes
1. “Op zijn eyge konstwieken kon flodderen.” Jacob Campo Weyerman, De levensbeschryvingen derNederlandsche konstschilders en konstschilderessen (The Hague, 1729), 3: 388.
2. Agneta Chapman was the daughter of the surgeon Thomas Chapman (1637–before 1701) and Elisabeth
Martens. Thomas Chapman’s parents came from England or Scotland and settled in Nijmegen in the1630s. Thomas Chapman was born there, as was his daughter Agneta. Willem van Mieris was a witness
when Chapman took a second wife, Elisabeth Clincq, in Leiden in 1690.
3. Eric Jan Sluijter, Marlies Enklaar, and Paul Nieuwenhuizen, eds., Leidse Fijnschilders: Van Gerrit Dou
tot Frans van Mieris de Jonge, 1630–1760 (Exh. cat. Leiden, Museum De Lakenhal) (Zwolle, 1988),
152.
4. He was succeeded as director in 1736 by his son Frans van Mieris the Younger (1689–1763).
5. As documented in Album studiosorum lugduno batavae 1575–1875 (The Hague, 1875), 739: “Wilhelmus
van Mieris, delineandi artem docens.” This enrollment with no mention of a specific discipline, like somany others in the album, was probably motivated by the fiscal benefits it engendered.
6. From the will that Willem van Mieris had drawn up in 1715, it emerges that in addition to collecting an
unknown number of books, he also seems to have written books. Frans van Mieris the Younger inherited
both the entire workshop inventory and his father’s books, among which Willem counted his own
writings on the art of painting: “He [Willem van Mieris] stated that he is giving a pre-legacy to hisaforementioned son Frans van Mieris of all of his drawings, prints, painted models, medals, sculptures,clothes associated with the art of painting, and all other ornaments that he has gathered with respect tothe art of painting, ditto all of the paints and tools for painting, as well as his books, all without
exception, and moreover the painter’s own writings on the art of painting and other arts.” (Voortsverklaarde hij [Willem van Mieris] aan zijn voorn[oemde] zoon Frans van Mieris noch te prelegateren . .
. alle zijn comp[aran]ts teykeningen, prenten, geschilderde modellen, medailies, beelden, klederen die
tot de schilderkonst behoren, en alle verdere ornamenten die hij comp[aran]t tot de schilderkonst heeftvergadert, item alle verwen ende gereetschappen tot de schilderkonst behorende, alsmede alle zijn
comp[aran]ts bouken, d geen uitgesondert, mitsg[ader]s zijne geschreven schriften van de schilder enandere konsten). Regionaal Archief Leiden, Notarial Archives, Notary Johan de Blauwer, inv. 1348,
deed 84, 28 June 1715.
7. For example, in 1725, the Delft art collector Valerius Röver (1686–1739) paid him a total of 1,050
guilders for two pictures. Ernst Wilhelm Moes, “Het Kunstkabinet van Valerius Röver te Delft,” Oud
Holland 31 (1913): 8.
8. “Onder de welken uytstaaken Mejuffrouw Oortmans en den Heer en Meester Pieter de la Court van derVoort.” Jacob Campo Weyerman, De levensbeschryvingen der Nederlandsche konstschilders en
konstschilderessen (The Hague, 1729), 3: 388. See also Johan van Gool, De nieuwe Schouburg der© 2024 The Leiden Collection

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Page 5 of 7

Nederlantsche Kunstschilders en Schilderessen: Waer in de Levens- en Kunstbedryven der tans levende enreets overleedene Schilders, die van Houbraken, noch eenig ander Schryver, zyn aengeteekend, verhaelt
worden (The Hague, 1750), 1: 192.
9. Petronella de la Court, now known primarily for her exquisite dollhouse, married Adam Oortmans(1622–84), a silk merchant at that time, in Leiden in 1649. The couple moved to Amsterdam, where
they bought the beer brewery De Zwaan (The Swan) on the Singel in 1657. On Petronella, see I. H. vanEeghen, “Het poppenhuis van Petronella de la Court, huisvrouw van Adam Oortmans,” MaandbladAmstelodamum 47 (1960): 159–67.
10. For her painting collection, see Stadsarchief Amsterdam, Inventory of Petronella de la Court, NotarialArchives, Notary G. Ypelaer, inv. 5338, fol. 553–642, 16 August 1707. Fewer paintings are mentioned
in this inventory than in the catalogue of the auction of her collection in Amsterdam on 19 October ofthe same year. Conversely, a few paintings appear in the catalogue that are absent from her inventory.
See Gerard Hoet and Pieter Terwesten, Catalogus of naamlyst van schilderyen, met derzelverpryzen,
zedert een langen reeks van jaaren zoo (The Hague, 1752), 1: 104–9; Sale Petronella de la Court, 17October 1707, Lugt 207. See also the biography of Jan van Mieris in this catalogue.
11. Eric Jan Sluijter, Marlies Enklaar, and Paul Niewenhuizen, eds., Leidse fijnschilders: Van Gerrit Dou tot
Frans van Mieris de Jonge, 1630–1760 (Exh. cat. Leiden, Museum de Lakenhal) (Zwolle, 1988), 42.
12. Armida Binding the Sleeping Rinaldo, signed and dated 1709 (Mauritshuis, The Hague). See Jacob
Campo Weyerman, De levensbeschryvingen der Nederlandsche konstschilders en konstschilderessen (TheHague, 1729), 3: 388–89.
13. For a survey of the copies Van Mieris painted for Pieter de la Court, see Junko Aono, “Imitation andInnovation: Dutch Genre Painting 1680–1750 and Its Reception of the Golden Age” (PhD diss.,
University of Amsterdam, 2011), 142–43, list II-1.
14. Cornelia Willemijn Fock, “Willem van Mieris als ontwerper en boetseerder van tuinvazen,” Oud
Holland 87 (1973): 27–48.
15. Cornelia Willemijn Fock, “Willem van Mieris en zijn mecenas Pieter de la Court van der Voort,”in Leids Kunsthistorisch Jaarboek (1983), 277.
16. Cornelia Willemijn Fock, “Willem van Mieris en zijn mecenas Pieter de la Court van der Voort,” inLeids Kunsthistorisch Jaarboek (1983), 261–82. See also Jacob Campo Weyerman, De
levensbeschryvingen der Nederlandsche konstschilders en konstschilderessen (The Hague, 1729), 3: 391;
Johan van Gool, De nieuwe Schouburg der Nederlantsche Kunstschilders en Schilderessen: Waer in deLevens- en Kunstbedryven der tans levende en reets overleedene Schilders, die van Houbraken, noch eenig
ander Schryver, zyn aengeteekend, verhaelt worden (The Hague, 1750), 1: 199.
17. Count Johan Hendrik van Wassenaer Obdam (1683–1745) was another important patron of Van Mieris.
Between 1713 and 1721, the count bought six paintings for amounts ranging between 380 and 825
guilders directly from the artist. Van Wassenaer paid the latter amount for a Grocer’s Shop of 1717
(Maurtishuis, The Hague), the highlight of his collection. Junko Aono, “Imitation and Innovation: Dutch© 2024 The Leiden Collection

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Page 6 of 7

Genre Painting 1680–1750 and Its Reception of the Golden Age” (PhD diss., University of Amsterdam,2011), 80–88. See also Jacob Campo Weyerman, De levensbeschryvingen der Nederlandsche
konstschilders en konstschilderessen (The Hague, 1729), 3: 390–91; Johan van Gool, De nieuwe
Schouburg der Nederlantsche Kunstschilders en Schilderessen: Waer in de Levens- en Kunstbedryven dertans levende en reets overleedene Schilders, die van Houbraken, noch eenig ander Schryver, zynaengeteekend, verhaelt worden (The Hague, 1750), 1: 198–99.
18. K. Bott, “Zwei Zeichnungen des Willem van Mieris in den Kunstsammlungen Graf vonSchönborn,” Oud Holland 103 (1989): 243–48, passim; Koenraad Jonckheere, The Auction of King
William’s Paintings (1713) (Amsterdam, 2008), 161.
19. Koenraad Jonckheere, The Auction of King William’s Paintings (1713) (Amsterdam, 2008), 194.
20. On Von Wackerbarth and his collection of Dutch masters, with its emphasis on Leiden fijnschilders, seeCarl Niedner, “Der sächsische Kabinettsminister Graf August Christoph von Wackerbarth († 1734) und
die Königliche Gemäldegalerie in Dresden,” Neues Archiv für Sächsische Geschichte undAltertumskunde 31 (1910): 86–99.
21. The version of the picture that Van Mieris painted in 1706 for Lothar Franz von Schönborn, Elector ofMainz, is no longer identifiable. Ben Broos, “Weyerman en ‘Wackerbaert,’” Mededelingen van deStichting Jacob Campo Weyerman 24 (2001): 143–45.
22. Armida Binding the Sleeping Rinaldo, signed and dated 1715 (Stiftung Preussische Schlösser und Gärten
Berlin-Brandenburg,

Jagdschloss

Grunewald,Berlin).

SeeBenBroos,“Weyermanen‘Wackerbaert,’” Mededelingen van de Stichting Jacob Campo Weyerman 24 (2001): 145; Jacob CampoWeyerman, De levensbeschryvingen der Nederlandsche konstschilders en konstschilderessen (The Hague,1729), 3: 391; Johan van Gool, De nieuwe Schouburg der Nederlantsche Kunstschilders en Schilderessen:
Waer in de Levens- en Kunstbedryven der tans levende en reets overleedene Schilders, die van Houbraken,
noch eenig ander Schryver, zyn aengeteekend, verhaelt worden (The Hague, 1750), 1: 199.
23. Cornelia Willemijn Fock, “Willem van Mieris en zijn mecenas Pieter de la Court van der Voort,” inLeids Kunsthistorisch Jaarboek (1983), 277.
24. Cornelia Willemijn Fock, “Willem van Mieris en zijn mecenas Pieter de la Court van der Voort,” inLeids Kunsthistorisch Jaarboek (1983), 277.
25. Eric Jan Sluijter, Marlies Enklaar, and Paul Niewenhuizen, eds., Leidse fijnschilders: Van Gerrit Dou tot
Frans van Mieris de Jonge, 1630–1760 (Exh. cat. Leiden, Museum de Lakenhal) (Zwolle, 1988), 152.

Literature
Weyerman,

Jacob

Campo.

De

levensbeschryvingen

derNederlandsche

konstschilders

enkonstschilderessen. The Hague, 1729, 3: 387–92.
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Willem van MierisPage 7 of 7

Van Gool, Johan. De nieuwe Schouburg der Nederlantsche Kunstschilders en Schilderessen: Waer in deLevens- en Kunstbedryven der tans levende en reets overleedene Schilders, die van Houbraken, noch eenig
ander Schryver, zyn aengeteekend, verhaelt worden. 2 vols. The Hague, 1750–51.
Fock, Cornelia Willemijn. “Willem van Mieris als ontwerper en boetseerder van tuinvazen.” Oud
Holland 87 (1973): 27–48.
Fock, Cornelia Willemijn. “Willem van Mieris en zijn mecenas Pieter de la Court van der Voort.” In
Leids Kunsthistorisch Jaarboek (1983), 261–82.
Sluijter, Eric Jan, Marlies Enklaar, and Paul Nieuwenhuizen, eds. Leidse Fijnschilders: Van Gerrit Doutot Frans van Mieris de Jonge, 1630–1760. Exh. cat. Leiden, Museum De Lakenhal. Zwolle, 1988,152–68.
Bott, K. “Zwei Zeichnungen des Willem van Mieris in den Kunstsammlungen Graf von Schönborn.”
Oud Holland 103 (1989): 243–48.
Aono, Junko. “Imitation and Innovation: Dutch Genre Painting 1680–1750 and Its Reception of theGolden Age.” PhD diss., University of Amsterdam, 2011.

© 2024 The Leiden Collection