Jacob Ochtervelt(Rotterdam 1634 – 1682 Amsterdam)

How to cite
Bakker, Piet. “Jacob Ochtervelt” (2017). 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.

The quality of much of Jacob Ochtervelt’s work—his oeuvre counts around one hundred paintings—is so great that it isdifficult to understand why Gerard van Spaan (1651–1711) makes absolutely no mention of the painter in the list of local
artists in his 1698 history of Rotterdam.[1] While Arnold Houbraken (1660–1719) does refer to Ochtervelt, he does so only
briefly and in connection with Pieter de Hooch (1629–in or after 1684). Houbraken wrote that unlike De Hooch,
Ochtervelt painted his “Kamergezichten” (interior views) “without using much perspectival depth to the background views,
which requires mathematical insight and close observation,” talents that Ochtervelt evidently did not possess. He “derived
satisfaction from the fact that he could depict small companies of young ladies and gentlemen or a woman sewing or lacemaking naturally and elaborately.”[2]Ochtervelt’s work garnered more appreciation from Jan van Gool (1685–1763). After noting with surprise (thuserroneously) in his Nieuwe Schouburg (1753) that “not a single writer has devoted attention to the man’s origins andartistry,” he describes Ochtervelt as a painter “whose manner and handling are very reminiscent of Metsu, and may haveissued from that school,” because “the images of clothing and household trappings are clear evidence that he must have
lived around that time.”[3]Van Gool was only partly right. Although Gabriel Metsu (1629–67) and Ochtervelt were indeed contemporaries, Metsu
was not Ochtervelt’s teacher. According to Houbraken, Ochtervelt trained, together with De Hooch, under the Haarlem
painter Nicolaes Berchem (1620–83). This statement, however, is now seriously doubted. The early work of bothOchtervelt and De Hooch displays so many stylistic parallels with that of the Rotterdam painter Ludolph de Jongh(1616–79) that an apprenticeship with their fellow townsman is far more likely.[4]Jacob Ochtervelt was baptized in Rotterdam on 1 February 1634. His parents were Lucas Hendricks (d. 1657), a cobbler
and the bridgekeeper of the Roobrugge over the Nieuwe Haven, and Trijntje Jans, a skipper’s daughter.[5] He grew up in
humble circumstances, as is indicated not only by his father’s occupation, but also that of his brothers and brothers-in-law,© 2024 The Leiden Collection

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who all but one were involved in seafaring. Two of them were employed by the Dutch East India Company (VOC),
including his brother Pieter, who was a gunner on the Schiedam.[6] Given Ochtervelt’s modest background, it is ironic thatour present appreciation of his work is based primarily on his faithful renderings of elegant companies in lavish interiors.
It should be noted, however, that he became familiar with upper middle class circles when he married Dirckje Meesters in1655. His father-in-law, Jan Meesters, made sails and compasses and his mother-in-law, Maria de Gelder, was the daughterof a Dordrecht merchant.[7] While the Meesters lived in comfortable circumstances, Ochtervelt’s brother-in-law Dirck
Meesters had a major impact on his career. This notary developed into an excellent administrator and held numerous
public offices, including that of burgomaster.[8] Dirck’s success was based on his marriage to Barbara Elsevier (1640–89),
scion of a celebrated Leiden printers’ family who was related to several Rotterdam regent families.[9] She would haveintroduced Ochtervelt to the merchant Isaack Elsevier—her father’s first cousin—whose family the artist portrayed in
1664.[10] Moreover, Ochtervelt may have had the Elsevier family to thank for his most important patron. In that same year,
Isaack’s sister Maria Elsevier (1626–after 1680) married the Rotterdam landscape painter Willem Viruly IV (ca.
1636–78), a close relative of the wine merchant Hartlief van Cattenburgh, who owned no fewer than ten paintings byOchtervelt, presumably all pendants, at the time of his death in 1669.[11]Ochtervelt would also have been acquainted with Viruly, as well as with the painter Pieter de Bloot (1601–58), whosewidow he accompanied when she had her will drawn up in 1661.[12] In 1667 Ochtervelt, together with Abraham
Westerveld (ca. 1620–92) and Cornelis Saftleven (1607–81), was nominated for the headman of the Guild of Saint Luke,but he lost the election to Saftleven. In that same year he rented a house in the Hoogstraat for a four-year period. He wasstill in Rotterdam in 1672 when he witnessed the baptism of one of the children of his brother-in-law Dirck Meesters, butmoved to Amsterdam shortly thereafter, presumably because the economic decline affecting the market for paintings that
had set in earlier in cities such as Delft, Haarlem and Leiden was also now making itself felt in Rotterdam.[13]Ochtervelt must have hoped to find a healthier market for his art in Amsterdam, but even there the situation was no longer
ideal. This notwithstanding, in 1674 he was engaged to portray the regents of the Leper House, and thus seems to havebeen faring reasonably well. He and his wife rented a house on the Keizersgracht, near the Spiegelstraat, and lived nextdoor to the celebrated landscape painter Willem Schellinks (1623–78).[14] In 1677 Ochtervelt was owed money by acolleague, Lodewijk van Ludick (1627–ca. 1697). He only lived in Amsterdam for one decade. After trading theKeizersgracht for the “Schapemarckt bij de Munt” (Sheepmarket near the Mint) in the beginning of 1681, he died in 1682
and was buried in the Nieuwezijds Kapel on 1 May. His marriage had remained childless, and not long after Ochtervelt’sburial, his widow moved back to Rotterdam, where she died in 1710.

- Piet Bakker, 2017

© 2024 The Leiden Collection

Jacob Ochtervelt
Page 3 of 5Endnotes
1. For the list of Rotterdam painters, see Gerard van Spaan, Beschryvinge der stad Rotterdam en eenige
omleggende dorpen, 3rd ed. (Rotterdam, 1738), 411–15.
2. “Zonder veel doorzichtkunde tot zyn agterwerken te gebruiken, ’t geen een maatkundig oordeel ennaauwe opmerking vereist;” “genoegde [zig alleen] dat hy natuurlyk en uitvoerig kleine gezelschappen
van Juffertjes en Heeren, of een Vroutje dat zit te naajen, of te speldewerken schilderen konde.” Arnold
Houbraken, De groote schouburgh der Nederlantsche konstschilders en schilderessen Amsterdam,
1718–21; rev. ed., The Hague, 1753; reprint, Amsterdam, 1980), 2: 27.
3. “Men niets by eenig Schryver van ’s Mans oorspronk of kunstvermogen geboekt [vint] … wiens manier
en behandeling veel gelykheit naer Metzu heeft, en die mogelyk uit die Schole is voortgekomen … al devertoningen van klederen en huissieraden geven klaere blyken, dat hy omtrent dien tyt geleeft moethebben.” Jan van Gool, De Nieuwe Schouburg der Nederlantsche kunstschilders en schilderessen (TheHague, 1751), 2: 488–89.
4. Roland E. Fleischer, “Ludolf de Jongh and the Early Work of Pieter de Hooch,” Oud Holland 92 (1978),passim.
5. That Lucas Hendricks, in addition to being a bridgekeeper, was also a cobbler (for a few years) emerges
from a deed dated 11 April 1650 in which he is called an “oud-schoenmaker” (former cobbler). In thesame document, Trijntje Jans is called the daughter of a bargeman sailing the Purmerend route. SeeGemeentearchief Rotterdam, Notarial Archives, Notary Jacobus Delphius, inv. 383, deed 36/68. A deed
dated 20 February 1662 confirms that the Lucas Hendricks and Trijntje Jans mentioned in thisdocument are certainly the parents of the artist. See Gemeentearchief Rotterdam, Notarial Archives,Notary Jacob Duyfhuysen, inv. 235, deed 14/24; and Alan Chong, “Jacob Ochtervelt’s Rotterdam
Patron,” in In His Milieu: Essays on Netherlandish Art in Memory of John Michael Montias, ed. Amy
Golahny, Mia Mochizuki, and Lisa Vergara (Amsterdam, 2006), 114n20.
6. Pieter Ochtervelt worked for the Delft chamber of the VOC as a “busschieter” (gunner) on the“Schiedam” (Schiedam), and died in the East Indies in 1657. His brother Jan, presumably a sailor, seems
to have died during the fleet’s return voyage from Batavia to Rotterdam in 1666. And his sister Aechje
married a sailor. In 1666 her husband, Olivier Meyersz, was “aengenomen om te varen voor bootsgesel
op ‘t schip ‘De Spiegel’ met den vice-admirael Van der Hulst” (was hired as a sailor on board De
Spiegel under Vice-Admiral Van der Hulst). See Susan Donahue Kuretsky, The Paintings of Jacob
Ochtervelt (1634–1682) (Oxford, 1979), 4. The husband of Ochtervelt’s sister Sytge was initially also
destined for seafaring. In a document from 1643 he was called a “koksmaat” (galley boy), and in 1646 a“bottelier” (steward). His time at sea, however, seems to have ended in 1653 when he was called an“arbeyder aen de weg” (road worker). The only non-seafaring relative was Willem Jans Verwissel, thehusband of Henderickje Ochtervelt, who was a “schrijnwerker” (cabinetmaker).
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7. Jan Meesters seems initially to have been a merchant in French wines and semitropical fruit, and an
associate of his brother-in-law Cornelis de Gelder, a merchant in Nantes. See Gemeentearchief
Rotterdam, Notarial Archives, Notary Wagensvelt, inv. 140, deed 342/569, 7 April 1628. His nameoccurs regularly in the notarial archives as living on the Hoogstraat, and (starting in 1630) as a maker ofsails and compasses.
8. He was town councilman and burgomaster until 1692, the year he took a second wife, Margrieta vanYck, whose father was Johan van Yck, councilman between 1658 and 1692 and burgomaster for severalterms. See E.A. Engelbrecht, De Vroedschap van Rotterdam, 1572–1795 (Rotterdam, 1973), 267–68.
9. Barbara Elsevier’s parents were Louis Elsevier (1617–40) and Adriana Bosman, a burgomaster’sdaughter. See E.A. Engelbrecht, De Vroedschap van Rotterdam, 1572–1795 (Rotterdam, 1973), 136.
She was the granddaughter of Isaack Elsevier (1596–1651), the founder of the Leiden publishing houseon the Rapenburg and the official printer of the Leiden Academy. Until his move to Rotterdam in 1629,
he ran the company with his brother Abraham (1592–1652). Abraham continued running the business,
and after his death in 1652 was honored by Leiden University with a special medal for his great
contribution to typography. The medal is illustrated in Alphonse Willems, Les Elzevier: histoire etannales typographiques (Brussels, 1890), 188.
10. Portrait of the Elsevier Family, probably 1664 (Wadsworth Atheneum Museum of Art, Hartford, Conn.);
Susan Donahue Kuretsky, The Paintings of Jacob Ochtervelt (1634–1682) (Oxford, 1979), 60, no. 19.
The earliest known reference to the Elseviers family portrait is in an 1832 auction in Paris (Lugt 12703,lot 36). According to the description, the moment depicted is when “Elsevier” is being honored for his
great contribution to typography; the medal hangs from the shoulders of the child at his knee.
Donahue Kuretsky questioned the correctness of this description. See Susan Donahue Kuretsky, “TwoPaintings by Ochtervelt in the Wadsworth Atheneum,” Bulletin of the Wadsworth Atheneum 5 (1969):
46–49. Van Kretschmar, however, identified the family as being Isaack Elsevier (1627–1684), his wife,
Anna Willemsdr van der Mast, and their four children. See Theodoor Hermann Lunsingh Scheurleer,Cornelia Willemijn Fock, and A.J. van Dissel, eds., Het Rapenburg: Geschiedenis van een Leidse gracht(Leiden, 1990), 5: 188–90. Their eldest son, Abraham (1654–1707), who later was appointedburgomaster, was about ten years old in 1664 (the probable date of the painting), and the youngest child,Catharina, had just been born. The two portraits in the background in that case are of Isaack’s parents:
Abraham Elsevier, the original receiver of the mark of honor, see note 9, and Catharina vanWaesbergen, the daughter of Jan van Waesbergen, printer for the Admiralty of Holland and WestFriesland. For the composition of Isaack Elsevier’s family in 1664, see E.A. Engelbrecht, De vroedschap
van Rotterdam, 1572–1795 (Rotterdam, 1973), 264.
11. Willem IV Viruly’s parents were Willem III Viruly (1605–77) and Aeltge Rijckwaert (d. 1657), a firstcousin of Magdalena Rijckwaert, the wife of Hartlief van Cattenburgh. See Alan Chong, “JacobOchtervelt’s Rotterdam Patron,” in In His Milieu: Essays on Netherlandish Art in Memory of John
Michael Montias, ed. Amy Golahny, Mia Mochizuki, and Lisa Vergara (Amsterdam, 2006), 108–9; P.
Haverkorn van Rijsewijk, “De schilders Viruly,” Rotterdamsch Jaarboekje 4 (1894): 180–81.
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12. At the time of his marriage in 1655 Ochtervelt was living on the Westerwagenstraat, the street on which
various members of the Viruly family owned various properties and continued to live well into theseventeenth century. See P. Haverkorn van Rijsewijk, “De schilders Viruly,” Rotterdamsch Jaarboekje 4(1894), passim. For other Rotterdam painters he may have known, see Jan Briels, Vlaamse schilders ende dageraad van Hollands gouden eeuw, 1585–1630 (Antwerp, 1997), 300.
13. Between 1650 and 1705 the number of inhabitants in Rotterdam grew from 30,000 to 50,000; P.
Lourens and J. Lucassen, Inwonerstaantallen van Nederlandse steden, ca. 1300–1800 (Amsterdam,1997), 117. The Rotterdam painters’ community reached its height in 1660, with sixty-four active
painters. By 1674, the probable year of Ochtervelt’s departure, this number had dropped to fifty. In
1682, the year of his death, only thirty-two painters were still active in Rotterdam, after which thesituation remained stable until the first quarter of the eighteenth century, when it fell yet again. See PietBakker, “Crisis? Welke crisis? Enkele kanttekeningen bij het economisch verval van de schilderkunst in
Leiden na 1660,” De Zeventiende Eeuw 27 (2011): fig. 2.
14. The “200ste penning” (a municipal tax of one penny on every two hundred) levied in Amsterdam in1674 shows that Ochtervelt’s assets were worth about 1,000 guilders. They must have consisted ofsecurities, for he and his wife were living in a rented house on the Keizersgracht which the owner would
sell for 4,100 guilders in 1681. See Susan Donahue Kuretsky, The Paintings of Jacob Ochtervelt(1634–1682) (Oxford, 1979), 5; I.H. van Eeghen, “De Kerk het Vredesduifje,” MaandbladAmstelodamum (1957): 145–49.

Literature
Kuretsky, Susan Donahue. “The Ochtervelt Documents.” Oud Holland 87 (1973): 124–41.
Fleischer, Ronald F. “Ludolf de Jongh and the Early Work of Pieter de Hooch.” Oud Holland 92 (1978):49–67.
Kuretsky, Susan Donahue. The Paintings of Jacob Ochtervelt (1634–1682). Oxford, 1979.
Schadee, Nora, ed. Rotterdamse Meesters uit de Gouden Eeuw. Exh. cat. Rotterdam, Historisch Museum.
Zwolle, 1994, 290–91.
Chong, Alan. “Jacob Ochtervelt’s Rotterdam Patron.” In In His Milieu: Essays on Netherlandish Art inMemory of John Michael Montias. Edited by Amy Golhany, Mia Mochizuki, and Lisa Vergara, 101–22.
Amsterdam, 2006.

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