Michael Sweerts(Brussels 1618 – 1664 Goa)

How to cite
Bakker, Piet. “Michael Sweerts” (2017). In The Leiden Collection Catalogue, 2nd ed. Edited by Arthur K.
Wheelock Jr. New York, 2017–20. https://theleidencollection.com/artists/michiel-sweerts/ (archived June2020).
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.

Michael Sweerts was baptized in the Catholic St. Nicholas Church in Brussels on 29 December 1618. Hisparents were the merchant David Sweerts and Martynken Balliel. Little else is known about his family
background other than that he had two, presumably older, sisters.
His name subsequently surfaces for the first time in 1646 in Rome, where it recurs annually until 1651 in
the stati delle anime (“family registry”) of the parish of Santa Maria del Popolo. Like so many other Northern
painters, he lived on the Via Margutto, the heart of the artists’ community in Rome. In 1646 the Accademia diSan Luca charged him with collecting the annual contributions of its Dutch members.[1] He may have alsojoined the Schildersbent, a renowned artists’ fraternity whose members were called Bentvueghels (“Birds of aFeather”), but to date not a shred of evidence to this effect has been found. How his life transpired in theyears prior to 1646 is unknown, but a later source credits him with speaking no less than seven languages,
suggesting that he was well-educated.[2]It is difficult to ascertain with whom he kept company in the Eternal City, but Johannes Lingelbach (1622–74)
was certainly one of his friends. Lingelbach’s style during his Rome years was strongly influenced bySweerts. Moreover, Sweerts later portrayed Lingelbach in Amsterdam.[3] Sweerts’s Roman clientele included
Dutchmen on a Grand Tour and Dutch merchants conducting trade in Italy. Among those making a Grand
Tour was the Dordrecht poet Matthijs van de Merwede (ca. 1625–77), who sat for him several times in Romebefore 1648. While in the Eternal City, Sweerts also painted the portrait of the Amsterdam cloth merchantAnthonij de Bordes (1615–78), who was in Italy in 1648 and 1649.[4] More important patrons during this period
were the Deutz brothers, for whom he painted portraits and other works. In addition, between 1648 and 1650
he acted as their agent in a variety of art purchases, and in 1651 the brothers authorized him to negotiate with© 2020 The Leiden Collection

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the Roman customs officials regarding a shipment of silk from Leiden.[5]By far his most important Italian patron was Prince Camillo Pamphili (1622–66), a nephew of Pope Innocent X(1574–1655), who began assembling a splendid collection in the 1640s. When the prince’s possessions wereinventoried from 1648 to 1652, it emerged that he owned three works by Sweerts; a fourth picture is listed in alater inventory of 1666. There are also indications that Sweerts served as an agent for the prince. Around
1652, the latter paid Sweerts for a large history painting by the Tuscan painter Cristoforo Roncalli(1552–1626). He also received more than three scudi for oil paint used in “Zijne Exelentie’s Academie” (HisExcellency’s Academy). This seems to indicate the existence of an academy in the Palazzo Pamphili—it wasnot uncommon at the time for wealthy art lovers to maintain painting academies in their palaces—which may
well be represented in the décor of various paintings of studio interiors. Cardinal Flavio Chigi (1631–93), too,owned work by Sweerts, perhaps through the mediation of Niccolò Simonelli (d. 1671), who was the keeper ofCamillo’s collection of pictures when Sweerts was working for the prince and later masterof the guardorobe (“wardrobe”) of Cardinal Chigi (1631–93).
It is unknown when exactly Sweerts left Rome, but he was back in his native Brussels in 1655, where hewitnessed the baptism of his nephew on 19 July. Little is known about his years in Brussels. What is certain isthat he founded a drawing academy. This is evidenced by a petition to the city council, in which he requests
privileges on the grounds of his great service to the city, including the establishment of an “academy fordrawing after life . . . at great cost . . . out of love for his fatherland,” primarily for the training of tapestry
designers.[6] Sweerts painted many portraits in Brussels, but of all of his patrons only the notary public andplaywright Willem van der Borcht (1621–68) can be identified, for whom he once served as a witness in alawsuit.
Sweerts moved to Amsterdam several years later. It was long thought that he left for Amsterdam in 1658, butthat assumption has proven to be incorrect; at the beginning of 1659 Sweerts presented a self-portrait to theBrussels Guild of Saint Luke, which the members hung in the meeting room “tot zijn gedenkenis” (inremembrance of him).[7] This portrait must be understood as a farewell gift. His departure has been generally
explained in connection with the presumed failure of his academy, yet there is no evidence to support thishypothesis. It is more logical to link his change of venue with his religious convictions, which led him tobecome a lay member of the Société des Missions Etrangères. Moving to Amsterdam was most likely
occasioned by the Society’s request that he assist another member in supervising the construction of a ship
intended for a mission to China. In Amsterdam he may have resumed contact with the Deutz family. A 1692
inventory includes Sweerts’s likeness of Balthasar Deutz (1626–61), who (unlike his three brothers) nevervisited Italy and whose portrait therefore must have been painted in Amsterdam.
Sweerts left Amsterdam in late 1661; a letter from the Société reveals that he was in Marseille in December ofthat year. In January 1662 Sweerts and other missionaries set sail to Palestine. During the journey the artist
suffered fits of anger and his behavior was so disturbing that the group parted ways upon arrival. We are in
the dark as to the final two years of Sweerts’s life. The last record regards his death in Goa, India, in 1664,
but the entry in the Society’s administration contains no further details about the circumstances under which
he died.
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- Piet Bakker, 2017

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Endnotes

1. Whether Michael Sweerts was actually a member of the Academia is unknown. On this, see
Jonathan Bikker, “Een miraculeus leven,” Kunstschrift 45 (2001): 26.
2. He may have been in Rome long before 1646. This is suggested by the task the Accademia
charged him with, namely collecting membership fees, which was not easily or quickly given
to a newcomer. A 1640 annotation in the parish records points to a longer presence in Rome:“Gherardo, Flemish, painter, with his companion Michele” (Ghirardo, fiamengho, pittore.
Michele suo companion) living in the Via Margutto. In 1648 the records list this registration in
exactly the same wording. Arguing against a longer sojourn in Rome is the mention of a“Michael Swerts” as a witness at the baptism of the child of a certain Johannes Hackaert inBrussels; see Jonathan Bikker, “Sweerts’s Life and Career—A Documentary View,”
in Michael Sweerts (1618–1664), ed. Guido Jansen and Peter C. Sutton (Exh. cat.
Amsterdam, Rijksmuseum; San Francisco, Fine Arts Museums of San Francisco; Hartford,
Wadsworth Atheneum Museum of Art) (Zwolle, 2001), 25.
3. Thomas Kren, “Jan Lingelbach in Rome,” The J. Paul Getty Museum Journal 10 (1982): 54.
The portrait of Johannes Lingelbach is known only as a mezzotint by Bernard Vaillant(Amsterdam, Rijksmuseum).
4. Anhony de Bordes and His Valet, ca. 1648 (National Gallery of Art, Washington, D.C.); Guido
Jansen and Peter C. Sutton, ed., Michael Sweerts (1618–1664) (Exh. cat. Amsterdam,Rijksmuseum; San Francisco, Fine Arts Museums of San Francisco; Hartford, Wadsworth
Atheneum Museum of Art) (Zwolle, 2001), 77–79, no. 4.
5. They are Jean (1618–73), Jeronimus (1622–70), and Joseph Deutz (1624–84). The threebrothers visited Italy on their Grand Tour from 1646 to 1650. Later inventories of theirpossessions mention various paintings attributed to Sweerts. For the Deutz family and theirrelationship with the painter, see Jonathan Bikker, “The Deutz Brothers, Italian Paintings andMichiel Sweerts: New Information from Elisabeth Coymans’s Journael,” Simiolus 26 (1998):
277–311.
6. “Academie van die teeckeninge naer het leven . . . met grooten kost . . . uyt lieffde tot sijn
vaderlandt.” For a transcription of this letter, see Jonathan Bikker, “Sweerts’s Life andCareer—A Documentary View,” in Michael Sweerts (1618–1664), ed. Guido Jansen andPeter C. Sutton (Exh. cat. Amsterdam, Rijksmuseum; San Francisco, Fine Arts Museums ofSan Francisco; Hartford, Wadsworth Atheneum Museum of Art) (Zwolle, 2001), 34.
7. Jonathan Bikker, “Sweerts’s Life and Career—A Documentary View,” in Michael Sweerts(1618–1664), ed. Guido Jansen and Peter C. Sutton (Exh. cat., Amsterdam, Rijksmuseum;
San Francisco, Fine Arts Museums of San Francisco; Hartford, Wadsworth Atheneum© 2020 The Leiden CollectionPowered by TCPDF (www.tcpdf.org)

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Museum of Art) (Zwolle, 2001), 32.

Literature
Kren, Thomas. “Jan Lingelbach in Rome.” The J. Paul Getty Museum Journal 10 (1982):45–62.
Bikker, Jonathan. “Een miraculeus leven.” Kunstschrift 45 (2001): 16–26.
Jansen, Guido, and Sutton, Peter C., eds. Michael Sweerts (1618–1664). Exh. cat.
Amsterdam, Rijksmuseum; San Francisco, Fine Arts Museums of San Francisco; Hartford,Wadsworth Atheneum Museum of Art. Zwolle, 2001.
Yeager-Crasselt, Lara. Michael Sweerts (1618–1664): Shaping the Artist and the Academy in
Rome and Brussels (Pictura Nova XXI). Turnhout, 2015.

© 2020 The Leiden Collection