Carel Fabritius(Middenbeemster 1622 – 1654 Delft)

How to cite
Bakker, Piet. “Carel Fabritius” (2017). In The Leiden Collection Catalogue, 2nd ed. Edited by Arthur K.
Wheelock Jr. New York, 2017–20. https://theleidencollection.com/artists/carel-fabritius/ (archived June 2020).
A PDF of every version of this biography is available in this Online Catalogue's Archive, and the Archive ismanaged by a permanent URL. New versions are added only when a substantive change to the narrative
occurs.

In studying the life and work of Carel Fabritius, one soon notices that scholarly interest in his artistry focuseson two different “periods:” a real one and an imagined one. Naturally, the most attention is given to
Fabritius’s actual career, which began around 1641 and ended in 1654. Then there is the great speculation
regarding the period that never existed, but which could have, had his life not been cut short by thedevastating explosion of the powder magazine in Delft in 1654. Only thirteen paintings have been firmly
attributed to him, and his limited artistic legacy is sorely lamented. Famous paintings like The
Goldfinch [1] and The Sentry[2] bespeak such originality and artistic quality that we can only regret all theworks he never painted. Unfortunately, his untimely death has made it virtually impossible to determine
whether his talent would have eventually been great enough to equal, if not surpass, that of his
teacher, Rembrandt van Rijn (1606–69).
Fabritius’s parents were Pieter Carelsz Fabritius (1598–1653) and Barbertje van der Maes (1601–67). He wasbaptized in Middenbeemster, a village just north of Amsterdam, on 27 February 1622.[3] His father worked
there as a sexton, a schoolteacher and, in “the spare time outside school,” also as a painter.[4] Thus Fabritius,like his brothers Barent (1624–73) and Johannes (1636–93), must have received his first painting lessons fromhis father. Fabritius became a member of the Dutch Reformed Church in 1641, and on 1 September of thatsame year married Aeltge Velthuys (d. 1643), the sister of Pastor Tobias Velthusius, with whom she lived in
the parsonage next to Fabritius’s house. At some unknown point soon thereafter Fabritius left for Amsterdam,
where he completed his training under Rembrandt—Samuel van Hoogstraten (1627–78) called him “mijnmedeleerling” (“fellow pupil”)[5] —and may have subsequently worked as a full-fledged assistant for some time.
His stay in Rembrandt’s workshop, however, could not have lasted very long. Aeltge died, probably inchildbirth, in the spring of 1643. On 24 April an inventory was drawn up of her possessions in their home on© 2020 The Leiden Collection

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the Runstraat and in the house of her brother, the draper Abraham Velthuys, and were appraised in July ofthat same year at 1,800 guilders, reflecting a certain level of financial comfort. The listed tronies, including twothat were “ruw raengesmeerd” (roughly painted or sketchy), were probably the work of her husband.[6]Following the death of his wife Fabritius returned to Middenbeemster, where he was once again living with hisparents in June 1643. Ultimately, he spent at most 20 months in Rembrandt’s vicinity. Whether his return wasa deliberate choice or informed by financial considerations cannot be said. Neither do we know how long helived in Middenbeemster, nor do we have any idea of what his stay there was like. His earliest known
painting, The Raising of Lazarus, which is still closely related to the work of Rembrandt, dates from around
1643 and thus could have been painted either in Amsterdam or Middenbeemster.[7] His name surfaces again
only in 1646 in a document certifying that he stood as godfather to his youngest sister Cornelia, who lived in
Middenbeemster.[8] Around this year he painted his Mercury and Argus[9] and Mercury and Aglauros,[10] thecolor scheme and illumination of which reveal that he was moving away from Rembrandt’s style. Whether
these works originated in Middenbeemster or in Amsterdam is unclear. It is difficult to imagine that sparsely
populated Middenbeemster afforded him sufficient clientele, and it is therefore tempting to assume that hetraveled back and forth to Amsterdam periodically in the years after his wife’s death but before his departurefor Delft in 1650.[11]The state of affairs outlined above finds some support in the biographies of a few of his patrons. For example,
in 1649 he painted the portrait of the Amsterdam silk merchant Abraham de Potter (1592–1650), a family
friend and owner of an estate in Middenbeemster.[12] In that same year he also produced work for Balthasar
Deutz (1626–61), for which he was paid 78 guilders. Like De Potter, Balthasar and his brothers were
Amsterdam silk merchants and renowned art lovers.[13] One year later Balthasar, who also owned an estate inMiddenbeemster, paid Fabritius 25 guilders for painting his portrait.[14]Also dating from his time in

Middenbeemster is an (unverified) self-portrait, which he painted for the Amsterdam thread-twister Cornelis
Smout (d. 1652) and his wife Catharina Scharckens (1607–54). It hung in their house on the Nieuwezijds
Voorburgwal, together with a picture by Rembrandt, in 1654.[15] Contact between the couple and the painter,however, would have taken place in Middenbeemster, for Smout and his family regularly spent time at his
estate there.
Fabritius moved to Delft in 1650. On 14 August he married his second wife, the widow Agatha van Pruyssen(b. 1611), in Middenbeemster, yet the marriage certificate gives their place of residence as the Oude Delft in
Delft; their betrothal was recorded there one week later. It was in Delft that the master painted the majority oftheapproximately

thirteen

pictures

that

can

be

attributed

to
[16]

including The Goldfinch and The Sentry mentioned above as well as his famous self-portrait.

him,

Perhaps hedoubted whether he would settle there for good after he married, for he did not join the Guild of Saint Luke
until two years later, in 1652. His hesitation is understandable. The profound crisis affecting the art market,
which elsewhere in the Dutch Republic was felt strongly only as of the 1660s, had already begun to impact
Delft in the 1640s.[17] That he paid the 12 guilder registration fee to the painters’ guild in two installmentssuggests that he was experiencing financial difficulties. The same could apply to the promise he made in 1653
to Jasper de Potter (1621–56), the son of Abraham, whose likeness he painted in 1649, to pay off a loan of© 2020 The Leiden Collection

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620 guilders dating from 1647, which in the meantime had mounted to close to 730 guilders. Any and all work
seemed welcome, even the kind usually avoided by fine painters. For instance, the Delft town council paid him
12 guilders for two painted city coats of arms.
However, Fabritius simply cannot have been lacking important commissions. Samuel van Hoogstraten lauds
the artist’s talent for “wegwijkende doorzigten” (receding through-views [or perspectives]), noting that heproduced various large-scale perspectives in Delft, including one in the home of Theodorus Vallensis(1612–73), dean of the Delft surgeons’ guild and court physician to Stadholder Frederik Hendrik(1584–1647).[18] If Fabritius were granted many such commissions, this could explain in part the modest
scope of his oeuvre, given that, according to Van Hoogstraten, “this kind of painting depends enormously on
the place to which it is applied.”[19] This is why so few works have been preserved; every time new residents
moved into a house there was a chance that—driven by taste or fashion—they would replace the wall painting
with another kind of decoration. That Fabritius had remarkable illusionistic skills is more than evident in his
1652 A View of Delft, which was probably intended for a perspective box or peepshow.[20]As mentioned above, the notorious powder magazine explosion on 12 October 1654 that reduced a third ofDelft to rubble also made a sudden and terrible end to Fabritius’s life. He was buried in the Oude Kerk twodays after the disaster. When his widow Agatha van Pruyssen signed an acknowledgment of debt on 25
February, she called her deceased husband “painter to His Highness, the Prince of Orange.”[21] This is afascinating description, however to date there is not a shred of evidence for any commission executed for
either Stadholder Frederik Hendrik or his son William II (1626–50).[22] Despite the lack of evidence, it seems
inconceivable that Fabritius’s widow would call him a “court painter” without good reason, and we mustentertain the possibility that at the time of the explosion some paintings destined for Amalia von Solms(1602–75), the widow of Stadholder Frederik Hendrik, were among the works in his studio.

- Piet Bakker, 2017

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Endnotes

1. The Goldfinch, 1654 (Mauritshuis, The Hague); Christopher Brown, Carel Fabritius: Complete
Edition with a “Catalogue raisonné” (Oxford, 1981), 126, no. 7; Werner Sumowski, Gemälde
der Rembrandt-Schüler. Vol. 2, G. van den Eeckhout – I. de Joudreville (Landau, 1983), 987,
no. 610; Frederik J. Duparc, Carel Fabritius 1622–1654 (Exh. cat. The Hague, Mauritshuis;
Schwerin, Staatliches Museum) (Zwolle, 2005), 133–40, no. 11.
2. The Sentry, 1654 (Staatliches Museum, Schwerin); Christopher Brown, Carel Fabritius:
Complete Edition with a “Catalogue raisonné” (Oxford, 1981), 127–28, no. 8; Werner
Sumowski, Gemälde der Rembrandt-Schüler. Vol. 2, G. van den Eeckhout – I. de Joudreville(Landau, 1983), 986, no. 607; Frederik J. Duparc, Carel Fabritius 1622–1654 (Exh. cat. The
Hague, Mauritshuis; Schwerin, Staatliches Museum) (Zwolle, 2005), 141–46, no. 12.
3. When no source is mentioned, the biographical information is taken from H.F. Wijnman, “Deschilder Carel Fabritius (1622–1654): Een reconstructie van zijn leven en werken,” Oud
Holland 48 (1931): 100–41.
4. “Den leedigen tijt buyten den schooltijt.” Abraham Bredius, “Nieuwe gegevens omtrent deschilders Fabritius,” Oud Holland 38 (1920): 130.
5. Samuel van Hoogstraten, Inleyding tot de Hooge Schoole der Schilderkonst. Anders deZichtbaere Werelt (Rotterdam, 1678; reprint, Doornspijk, 1969), 11. In addition to theinventory mentioned in note 6, Fabritius’s stay in Amsterdam is recorded in the document of
the baptism of Fabritius’s daughter Catrina in the Nieuwe Kerk on 29 January 1643.
Christopher Brown, Carel Fabritius: Complete Edition with a “Catalogue raisonné” (Oxford
1981), Appendix A, Doc. 5.
6. For this inventory, see Abraham Bredius, “Het schilderregister van Jan Sysmus(II),” Oud-Holland 5 (1890): 226–27; and Christopher Brown, Carel Fabritius: Complete
Edition with a “Catalogue raisonné” (Oxford, 1981), 17–18.
7. The Raising of Lazarus, ca. 1643 (Muzeum Narodowe w Warszawie, Warsaw); Christopher
Brown, Carel Fabritius: Complete Edition with a “Catalogue raisonné” (Oxford, 1981), 121–22,
no. 1; Werner Sumowski, Gemälde der Rembrandt-Schüler. Vol. 2, G. van den Eeckhout – I.
de Joudreville (Landau, 1983), 984, no. 601; and Frederik J. Duparc, Carel Fabritius
1622–1654 (Exh. cat. The Hague, Mauritshuis; Schwerin, Staatliches Museum) (Zwolle,2005), 80–84, no. 1.
8. Christopher Brown, Carel Fabritius: Complete Edition with a “Catalogue raisonné” (Oxford,
1981), Appendix A, Doc. 10.
9. Mercury and Argus, ca. 1646 (Los Angeles County Museum of Arts); Werner
Sumowski,GemäldederRembrandt-Schüler.

Vol.

5,

Nachträge,

Ortsregister,© 2020 The Leiden Collection

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Ikonographisches Register, Bibliographie (Landau, 1994), no. 2072; Frederik J. Duparc, Carel
Fabritius 1622–1654 (Exh. cat. The Hague, Mauritshuis; Schwerin, Staatliches Museum)(Zwolle, 2005), 100–105, no. 5. See also Christopher Brown, “Mercury and Argus by Carel
Fabritius: A Newly Discovered Painting,” Burlington Magazine 128 (1986): 797–98.
10. Mercury and Aglauros, ca. 1646 (Museum of Fine Arts, Boston); Werner Sumowski, Gemälde
der Rembrandt-schüler. Vol. 2, G. van den Eeckhout – I. de Joudreville (Landau, 1983), no.
626, as Govaert Flinck; Frederik J. Duparc, Carel Fabritius 1622–1654 (Exh. cat. The Hague,
Mauritshuis; Schwerin, Staatliches Museum) (Zwolle, 2005), 106–10, no. 6.
11. Christopher Brown, Carel Fabritius: Complete Edition with a “Catalogue raisonné” (Oxford,
1981), 22.
12. Portrait of Abraham de Potter, 1649 (Rijksmuseum, Amsterdam); Christopher Brown, Carel
Fabritius: Complete Edition with a “Catalogue raisonné” (Oxford, 1981), 122, no. 2; Werner
Sumowski, Gemälde der Rembrandt-Schüler. Vol. 2, G. van den Eeckhout – I. de Joudreville(Landau, 1983), 984, no. 602; Frederik J. Duparc, Carel Fabritius 1622–1654 (Exh. cat. The
Hague, Mauritshuis; Schwerin, Staatliches Museum) (Zwolle, 2005), 116–20, no. 8.
13. Jonathan Bikker, “The Deutz Brothers, Italian Painting and Michael Sweerts: New Informationfrom Elisabeth Coymans’s ‘Journael,’” Simiolus 26 (1998): 291–92, 311; Frederik J.
Duparc, Carel Fabritius 1622–1654 (Exh. cat. The Hague, Mauritshuis; Schwerin, Staatliches
Museum) (Zwolle, 2005), 41–42.
14. Jonathan Bikker, “The Deutz Brothers, Italian Painting and Michael Sweerts: New Informationfrom Elisabeth Coymans’s ‘Journael,’” Simiolus 26 (1998): 311; Frederick J. Duparc, Carel
Fabritius 1622–1654 (Exh. cat. The Hague, Mauritshuis; Schwerin, Staatliches Museum)(Zwolle, 2005), 41–42.
15. Abraham Bredius, “Het schilderregister van Jan Sysmus, stadsdoctor van Amsterdam.” Oud
Holland 8 (1890): 229. For Cornelis Smout, see Sebastien A.C. Dudok van Heel, “‘Éen stuck
van Rembrant gedaen genamt de stilte,’” Maandblad Amstelodamum 69 (1982): 28–31.
16. Self-Portrait, 1654 (National Gallery, London); Christopher Brown, Carel Fabritius: Complete
Edition with a “Catalogue raisonné” (Oxford, 1981), 126, no. 6; Werner Sumowski, Gemälde
der Rembrandt-Schüler. Vol. 2, G. van den Eeckhout – I. de Joudreville (Landau, 1983), 987,
no. 609; and Frederik J. Duparc, Carel Fabritius 1622–1654 (Exh. cat. The Hague,
Mauritshuis; Schwerin, Staatliches Museum) (Zwolle, 2005), 129–32, no. 10.
17. Piet Bakker, “Crisis? Welke crisis? Kanttekeningen bij het economisch verval van deschilderkunst in Leiden na 1660,” De Zeventiende Eeuw 27 (2011): 232–70, esp. 237–40.
18. Samuel van Hoogstraten, Inleyding tot de Hooge Schoole der Schilderkonst. Anders deZichtbaere Werelt (Rotterdam, 1678; reprint, Doornspijk, 1969), 274; and Frederick J.
Duparc, Carel Fabritius 1622–1654 (Exh. cat. The Hague, Mauritshuis; Schwerin, Staatliches
Museum) (Zwolle, 2005), 54.
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19. “Deezen aert van Schildeyen zich geweldig [bint] aen de plaets, daer men ze toe
maekt.” Samuel van Hoogstraten, Inleyding tot de Hooge Schoole der Schilderkonst. Anders
de Zichtbaere Werelt (Rotterdam, 1678; reprint, Doornspijk, 1969), 274.
20. A View of Delft, 1652 (National Gallery, London); Christopher Brown, Carel Fabritius:
Complete Edition with a “Catalogue raisonné” (Oxford, 1981), 123–26, no. 5; Werner
Sumowski, Gemälde der Rembrandt-Schüler. Vol. 2, G. van den Eeckhout – I. de Joudreville(Landau, 1983), 986, no. 605; Frederik J. Duparc, Carel Fabritius 1622–1654 (Exh. cat. The
Hague, Mauritshuis; Schwerin, Staatliches Museum) (Zwolle, 2005), 121–28, no. 9.
21. “Schilder van syn hoocheyt den prince van oranien.” Christopher Brown, Carel Fabritius:
Complete Edition with a “Catalogue raisonné” (Oxford, 1981), 152, doc. 23.
22. Abraham Bredius, “Het schilderregister van Jan Sysmus (II),” Oud-Holland 5 (1890): 228; andChristopher Brown, Carel Fabritius: Complete Edition with a “Catalogue raisonné” (Oxford,
1981), 152, doc. 23. No references to works by Fabritius have been found in the inventoriesof the House of Orange. Should Fabritius have painted a wall-size “perspective” view, Van
Hoogstraten would surely have mentioned it. To his great regret, he was forced to note “datzijn werken niet ergens in een vast Koninklijk gebouw of Kerke geplaetst zijn” (that his work
was never placed somewhere permanently in a royal building or church). S. van
Hoogstraten, Inleyding tot de Hooge Schoole der Schilderkonst. Anders de Zichtbaere
Werelt (Rotterdam, 1678; reprinted in Doornspijk, 1969), 274.

Literature
Van Hoogstraten, Samuel. Inleyding tot de hooge schoole der schilderkonst; anders dezichtbare werelt. Rotterdam, 1678; reprinted in Doornspijk, 1969.
Bredius, Abraham. “Het Schilderregister van Jan Sysmus, stadsdoctor van Amsterdam.” Oud
Holland 8 (1890): 1–17; 217–34; 297–313.
Bredius, Abraham. “Nieuwe gegevens omtrent de schilders Fabritius.” Oud Holland 38(1920): 129–37.
Wijnman, H.F. “De schilder Carel Fabritius (1622–1654): Een reconstructie van zijn leven en
werken.” Oud Holland 48 (1931): 100–41.
Brown, Christopher. Carel Fabritius: Complete Edition with a “Catalogue raisonné.” Oxford,
1981.
Dudok van Heel, Sebastien A.C. “‘Éen stuck van Rembrant gedaen genamt destilte.’” Maandblad Amstelodamum 69 (1982): 28–31.
Sumowski, Werner. Gemälde der Rembrandt-Schüler. Vol. 2, G. van den Eeckhout – I. de
Joudreville. Landau, 1983.
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Carel Fabritius
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Brown, Christopher. “Mercury and Argus by Carel Fabritius: A Newly Discovered Painting.”
Burlington Magazine 128 (1986): 797–98.
Sumowski, Werner. Gemälde der Rembrandt-Schüler. Vol. 5, Nachträge, Ortsregister,
Ikonographisches Register, Bibliographie. Landau, 1994.
Bikker, Jonathan. “The Deutz Brothers, Italian Painting and Michael Sweerts: New
Information from Elisabeth Coymans’s ‘Journael.’” Simiolus 26 (1998): 277–311.
Duparc, Frederik J. Carel Fabritius 1622–1654. Exh. cat. The Hague, Mauritshuis; Schwerin,
Staatliches Museum. Zwolle, 2005.

© 2020 The Leiden Collection