Arent de Gelder(Dordrecht 1645 – 1727 Dordrecht)

How to citeBakker, Piet. “Arent de Gelder” (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.

No other pupil of Rembrandt van Rijn (1606–69) worked more emphatically and longer in the style of his master than theDordrecht painter Arent de Gelder. De Gelder was Rembrandt’s last pupil, and he adopted the master’s late expressive
style, remaining faithful to it for the rest of his career, even in the face of the prevailing classicizing fashion. Nevertheless,his style displays distinctive features that give it a personal identity. His sense of form was less stable than Rembrandt’s,
but his palette was more adventurous and colorful. De Gelder also differed from Rembrandt in his effective use of coloredgrounds and other underlayers of paint.[1]Arent de Gelder was born in Dordrecht on 26 October 1645. His parents were Jan Aertsz de Gelder (b. 1609) and Maria
Lotterich, who came from an affluent Dordrecht family.[2] Jan Aertsz started out as a cooper of wine barrels. In 1638 hesucceeded his father as the caretaker of the West-Indisch Huis, located on the Wijnstraat from where, as a merchant, healso conducted business with Brazil. The family lived there as well until 1686, when they moved to another house on thesame street. The De Gelders prospered, and Arent’s father became a wealthy and well-respected citizen. In 1664 he held
the highest position in a militia company, and in 1667 he was appointed dean of the Coopers’ Guild—a position usuallyreserved for regents—which he would hold for six consecutive years.[3] From 1672 on he also sat on various municipal
councils that were involved in appointing the city fathers.
De Gelder first trained under his fellow townsman Samuel van Hoogstraten (1627–78), who was in Dordrecht between
1656, when he returned from Vienna, and 1662, when he left for England.[4] It is difficult to pinpoint when exactly De
Gelder first entered Van Hoogstraten’s workshop, where he was introduced to the “de gronden van de schilderkonst” (therudiments of painting).[5] This may have been around 1660, when he turned fifteen, though it is possible that it was earlier,considering that his near contemporary fellow pupil Godefridus Schalcken (1643–1706) was already working with Van
Hoogstraten in 1656, the year of his thirteenth birthday.[6] Van Hoogstraten’s departure for England would explain why De
Gelder and Schalcken had to find a new teacher to complete their training. According to Houbraken, De Gelder headed to© 2024 The Leiden Collection

Arent de GelderPage 2 of 5Amsterdam “to learn how to paint in Rembrandt’s manner,”[7] and spent two years with the master before returning toDordrecht for good. Assuming that De Gelder went to Amsterdam shortly after Van Hoogstraten’s departure, his tutelage
with Rembrandt would have taken place between the summer of 1662 and the summer of 1664. Although Rembrandt
generally gave his pupils great freedom in assisting him in his paintings, De Gelder’s hand cannot be discerned in any ofthe master’s works from the first half of the 1660s.[8] What De Gelder did there during these years is still unclear. The firstconcrete sign of his independence is his earliest dated painting of 1667, a depiction of Judah and Tamar, a subject hewould later revisit a number of times (see Judah and Tamar in The Leiden Collection).[9] Like Rembrandt, De Gelder
painted, in addition to portraits, almost exclusively history scenes.
Back in Dordrecht, De Gelder, who never married, moved in with his parents on the Wijnstraat, as his only brother, thelawyer Johan de Gelder (1650–1727), would also later do. From there he took part in the city’s artistic and social life.
Judging from extant portraits and documents, it would appear that he profited greatly from his father’s social standing, andhis own prestige rose as well. He received commissions from members of the highest circles in Dordrecht and joined thecivic guard, moving up through the ranks and serving as captain between 1694 and 1711.
Arnold Houbraken (1660–1719) writes that De Gelder and the woodcarver Hendrik Noteman (1654–1737) visited theHague painter Augustin Terwesten (1649–1711) when he was painting “een kamer in het rond” (the walls of a room) in thehouse of burgomaster Barthoud van Slingelandt (1654–1711) in Dordrecht. Terwesten, however, had little time forthem.[10] De Gelder and Noteman were close friends, and De Gelder’s painted portrait of the woodcarver has beenpreserved.[11] Schalcken also portrayed the woodcarver (twice), but these likenesses have been lost. De Gelder, moreover,
was well acquainted with the amateur painter and printseller Jacob Moelaert (1649–1727), a pupil of Nicolaes Maes
(1634–93). At his death in 1727, Moelaert left De Gelder three albums of prints and drawings, including one with work byRembrandt.
De Gelder died suddenly on 27 August of that same year, less than a month after Moelaert. According to Weyerman, he
had planned to go for a ride (“te gaan speelenryden”) that morning with friends, but they found him, dead, at home.[12] Hisestate included close to 190 paintings, mostly history scenes.[13] Yet we only know with certainty that “twenty-two pictures
depicting the Passion of Christ” in the schildercamer (studio) were painted by De Gelder.[14] Houbraken mentions themspecifically and informs us that twenty of the works in this series had already been completed in 1715. On 30 September
1727, an auction was announced in the Amsterdamsche Courant of all the paintings left behind by “the late Arent deGelder, the only pupil of Rembrandt who faithfully followed his famous master in painting.”[15]- Piet Bakker, 2017

© 2024 The Leiden Collection

Arent de Gelder
Page 3 of 5Endnotes
1. Ernst van de Wetering, ‘‘Opmerkingen over de relatie tussen techniek, stijl en toeval bij Arent deGelder; een vergelijking met Rembrandt,” in Arent de Gelder (1645–1727), Rembrandts laaste leerling,ed. Dirck Bijker et al. (Exh. cat. Dordrecht, Dordrechts Museum; Cologne, Wallraf-Richartz-Museum)(Ghent, 1998), 19–35.
2. Unless otherwise noted, all biographical information on Arent the Gelder is taken from Gabriël Pastoor,“The Life of Arent de Gelder,” in Arent de Gelder, Dordrecht 1645–1727, ed. Joachim Wolfgang vonMoltke (Doornspijk, 1994).
3. Gabriël Pastoor, “The Life of Arent de Gelder,” in Arent de Gelder, Dordrecht 1645–1727, ed. JoachimWolfgang von Moltke (Doornspijk, 1994), 2n13.
4. See the biography of Samuel van Hoogstraten in this catalogue.
5. Arnold Houbraken, De groote schouburgh der Nederlantsche konstschilders en schilderessen (Amsterdam,1718–21; rev. ed., The Hague, 1753; reprint, Amsterdam, 1980), 3: 206.
6. De Gelder is generally assumed to have studied under Van Hoogstraten for two years. This may havebeen based on Houbraken’s comment that De Gelder learned “de gronden van de schilderkunst”(rudiments of painting) from Van Hoogstraten, though nowhere does he mention that this took exactly
two years; Arnold Houbraken, De groote schouburgh der Nederlantsche konstschilders en schilderessen(Amsterdam, 1718–21; rev. ed., The Hague, 1753; reprint, Amsterdam, 1980), 3: 206. Therefore, it ispossible that De Gelder’s tutelage under Van Hoogstraten was longer. The apprenticeship of a minor
could sometimes last seven years. Houbraken reports that De Gelder went to Amsterdam “omRembrants wijze van schilderen te leeren” (to learn how to paint in Rembrandt’s manner); Arnold
Houbraken, De groote schouburgh der Nederlantsche konstschilders en schilderessen (Amsterdam,1718–21; rev. ed., The Hague, 1753; reprint, Amsterdam, 1980), 3: 206. Taking Houbraken’s comment
literally, one could posit that De Gelder had completed his actual training. In that case, it would certainly
have lasted longer than two years. See Ronald de Jager, “Meester, leerjongen, leertijd: Een analyse vanzeventiende-eeuwse

Noord-Nederlandse

leerlingencontracten

vankunstschilders,goud-enzilversmeden,” in Oud Holland 104 (1990): 69–71. On the various stages of an apprenticeship, see also
Marion Goosens, “Schilders en de markt, Haarlem 1600–1635” (PhD diss., Leiden University, 2001),
77–83.
7. “om Rembrants wijze van schilderen te leeren.” Arnold Houbraken, De groote schouburgh derNederlantsche konstschilders en schilderessen (Amsterdam, 1718–21; rev. ed., The Hague, 1753; reprint,Amsterdam, 1980), 3: 206. According to Schatborn, De Gelder was with Rembrandt already in 1661. Asproof, he puts forth a drawing by De Gelder of 1661 that is strongly influenced by dated work by
Rembrandt from 1661–63. Peter Schatborn, “Tekeningen van Arent de Gelder,” in Arent de Gelder(1645–1727), Rembrandts laaste leerling, ed. Dirck Bijcker et al. (Exh. cat. Dordrecht, Dordrechts© 2024 The Leiden Collection

Arent de Gelder
Page 4 of 5Museum; Cologne, Wallraf-Richartz-Museum) (Ghent, 1998), 111.
8. Peter Schoon, “Arent de Gelder (1645–1727), ‘de beste Leerling die Rembrandt teelde by de adelijke
Schilderkonst,’’’ in Arent de Gelder (1645–1727), Rembrandts laatste leerling, ed. Dirck Bijcker et al.
(Exh. cat. Dordrecht, Dordrechts Museum; Cologne, Wallraf-Richartz-Museum) (Ghent, 1998), 14.
9. Judah and Tamar, signed and dated 1667 (Private Collection); Werner Sumowski, Gemälde derRembrandt-Schüler. Vol. 2, G. van den Eeckhout – I. de Joudreville (Landau, 1983), 1161, no. 728;
Joachim Wolfgang von Moltke, ed., Arent de Gelder, Dordrecht 1645–1727 (Doornspijk, 1994), 65, no.
11, pl. V (color), pl. 11; Dirck Bijker, et al., Arent de Gelder (1645–1727), Rembrandts laatste
leerling (Exh. cat. Dordrecht, Dordrechts Museum; Cologne, Wallraf-Richartz-Museum) (Ghent, 1998),
126–27, no. 2.
10. Arnold Houbraken, De groote schouburgh der Nederlantsche konstschilders en schilderessen (Amsterdam,1718–21; rev. ed., The Hague, 1753; reprint, Amsterdam 1980), 3: 268.
11. ortrait of Hendrik Noteman (1656–1734), signed and dated 1698 (Dordrechts Museum). Werner
Sumowski, Gemälde der Rembrandt-Schüler. Vol. 2, G. van den Eeckhout – I. de Joudreville (Landau,1983), 1178, no. 806, 1266; Joachim Wolfgang von Moltke, ed., Arent de Gelder, Dordrecht
1645–1727 (Doornspijk, 1994), 101, no. 101; Peter Marijnissen et al., De Zichtbaere Werelt,
schilderkunst uit de Gouden Eeuw in Hollands oudste stad (Exh. cat. Dordrecht, Dordrechts Museum)(Zwolle, 1992), 170–72, no. 37; Dirck Bijker et al., eds., Arent de Gelder (1645–1727), Rembrandts
laatste leerling (Exh. cat. Dordrecht, Dordrechts Museum; Cologne, Wallraf-Richartz-Museum) (Ghent,1998), 190–91, no. 30.
12. Jacob

CampoWeyerman,Delevensbeschryvingen

derNederlandsche

konstschilders

enkonstschilderessen (The Hague, 1729), 3: 44.
13. See Regionaal Archief Dordrecht, Notarial Archives, Notary A. Cant, inv. 84, fol. 269–91v, 29 August
1727. For a transcription of this extremely extensive inventory with all of the paintings, see Joachim
Wolfgang von Moltke, ed., Arent de Gelder, Dordrecht 1645–1727 (Doornspijk, 1994), 200–4.
14. “22 stukken schilderijen, verbeeldende de passie Christi.” See Regionaal Archief Dordrecht, Notarial
Archives, Notary A. Cant, inv. 84, fol. 280, fol. 269–91v, 29 August 1727.
15. “Arent de Gelder, zalr., d’eenigste Discipel die zynen beroemden Meester Rembrant stiptelyk in deSchilderkonst naer gevolgt heeft.”

Literature
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1718–21; revised edition published in The Hague, 1753; reprinted in Amsterdam, 1980, 3: 206–10.
WeyermanCampo,Jacob.

Delevensbeschryvingen

derNederlandsche

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konstschilderessen. The Hague, 1729, 3: 41–44.
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Von Moltke, Joachim Wolfgang, ed. Arent de Gelder, Dordrecht 1645–1727. Doornspijk, 1994.
Marijnissen, Peter et al., eds. De Zichtbaere Werelt: Schilderkunst uit de Gouden Eeuw in Hollands oudste
stad. Exh. cat. Dordrecht, Dordrechts Museum. Zwolle, 1992, 162–87.
Sumowski, Werner. Gemälde der Rembrandt-Schüler. Vol. 5, Nachträge, Ortsregister, IkonographischesRegister, Bibliographie. Landau, 1994, 3101–2.
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Liedtke, Walter. “Rembrandt’s ‘Workshop’ Revisited.” Oud Holland 117, nos. 1–2 (2004): 48–73.
Hadjinicolaou, Yannis. “‘Synagonism’ in Dordrecht: Arent de Gelder’s ‘Handeling’ and His Network ofFriends.” Wallraf-Richartz-Jahrbuch 77 (2016), 221–36.
Hadjinicolaou, Yannis. “The Artist’s Debt: Arent de Gelder and Rembrandt.” Social Science
Information 58, 3 (2019): 493–520.
Horn, Hendrik J. and Rieke van Leeuwen. Houbraken Translated: Arnold Houbraken’s Great Theatre oftheNetherlandish

PaintersandPaintresses.

TheHague,2021,3:206–10[https://houbraken-translated.rkdstudies.nl/3-180-239/page-200-209/] (accessed October 31, 2022).

© 2024 The Leiden Collection