Godefridus Schalcken(Made 1643 – 1706 The Hague)

How to cite
Bakker, Piet. “Godefridus Schalcken” (2017). In The Leiden Collection Catalogue, 2nd ed. Edited by Arthur
K. Wheelock Jr. New York, 2017–20. https://theleidencollection.com/artists/godefridus-schalcken/ (archivedJune 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 narrativeoccurs.

Godefridus (also called Godfried) Schalcken was born in Made near Geertruidenberg in 1643 to the clergyman
Cornelis Schalcken (1610–74) and Aletta Lydius (1612–78), who came from a respected family of preachers
and theologians.[1] When Cornelis was made rector of the Latin school in Dordrecht, he and his family moved
to that city in 1654.[2] There, in 1656, the thirteen-year-old Schalcken was apprenticed to his fellow townsman
Samuel van Hoogstraten (1627–78), after which he went to study under Gerrit Dou (1613–75) in Leiden
around 1663.[3] Exactly when Schalcken returned to Dordrecht is unknown, it was presumably shortly after hecompleted his training. In any case, he was living in Dordrecht again around 1669.[4]In October 1679 Schalcken married Francoisia van Diemen (1661–1744) from Breda, the daughter ofChristoffel van Diemen (d. 1661), an officer in the State army, and Elisabeth Beens (d. 1661), who came froma prominent Breda family.[5] Schalcken and his wife had seven children, of whom only their daughter
Francoisia (b. 1690) reached adulthood. She married twice; the first time in 1713 to the Hague architect PieterRoman (1676–after 1733).[6]Together with Eglon van der Neer (1635/36–1703) and Caspar Netscher (1639–84), Schalcken was among
the most important representatives of a third generation of fijnschilders (fine painters) after Dou and Frans vanMieris (1635–81). Schalcken was the first fijnschilder from outside of Leiden, although naturally he wasintroduced to fijnschilderkunst (a fine and meticulous manner of painting) there.[vii] According to Arnold
Houbraken, he was influenced primarily by Dou, “whose facture he was able to emulate almost perfectly.”[8] Asan example, he mentions Schalcken’s Vrouwtje komt ten Hoof (Game of “Lady, Come into the Garden”),
which enjoyed a certain renown in Dordrecht in the 1670s.[9] Still, this early work already demonstrates thatDou’s influence remained limited to his technique and that Schalcken assimilated Van Mieris’s style, as did© 2020 The Leiden Collection

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Van der Neer and Netscher.[10]Schalcken and the other fijnschilders, however, soon took a new tack. Responding to the shifting and moreinternationally oriented tastes of the upper class who were becoming tired of traditional subjects, Schalcken
became increasingly captivated by the classicism emanating from France, which had begun to leave its markon Dutch painting in the 1660s.[11] Schalcken expressed his striving for a classical ideal of beauty not only inthe rendering of figures and their refined, “aristocratic” lifestyle, but also in experimenting with more elevatedscenes from the Bible and classical antiquity.[12]Though Schalcken’s history paintings were satisfying, his reputation at home and far beyond the boundariesof the Dutch Republic rested on his kaarslichtjes, or pictures with figures in a nocturnal setting illuminated byartificial light. The artist’s rendering of artificial light was unsurpassed and this talent stood him in good steadwhen painting portraits: the diffuse candlelight allowed for a soft modeling of the face, giving the sitter anamiable and elegant impression. Two notable examples are his portrait of Stadholder-King William III(1650–1702) by candlelight,[13] and his nocturnal self-portrait, which he sent around 1695 to Cosimo III de’Medici (1642–1732), Grand Duke of Tuscany, in response to the latter’s request for a painting by the artist.[14]Schalcken achieved great renown with his portraits. Portraiture did not lend itself well to the time-consuming“fine painting,” and thus “from time to time he turned to a more pleasing and airier manner of painting.[15]After Nicolaes Maes (1634–93) moved to Amsterdam in 1673, Schalcken became Dordrecht’s leading portrait
painter, and his reputation soon extended well beyond that city. In 1676 he painted portraits of the wealthy
Leiden cloth merchant Pieter de la Court (1618–1685) and four members of his family.[16] As of the 1680s
Schalcken traveled regularly to The Hague to work on the many lucrative portrait commissions he received
from the distinguished circles around first Stadholder and then, as of 1689, King William III. The artist’s Hague
interests led him to join the local painters’ society Pictura in 1691, although he continued to reside in
Dordrecht.
Together with his family Schalcken crossed the North Sea around 1692 and established himself in London.
According to Houbraken, he met with great success there and the English elite was eager to sit for him.
Weyerman, who had little liking for Schalcken’s work, perceived his London years in an entirely
different light.[17] He maliciously informed his readers that the English soon had had enough of Schalcken’s
portraits, which were “as flat as unrisen pancakes,” lacking “the firm, round, loose, and powerful manner that[viewers] discerned in the delightful likenesses by the Knight [Godfried] Kneller […] and many others in that
century of blossoming portraitists.” As a consequence, Schalcken was forced “to paint history scenes and‘night lights’ [nocturnal scenes].”[18] Whether Schalcken actually had such a dearth of patrons in London isunknown, but it is true that very few portraits by Schalcken can be linked to his London years.
The artist was back in the Dutch Republic in June 1698 and settled in The Hague to build further on thesuccess he had enjoyed there prior to his departure. Particularly notable was his intensive contact with ElectorPalatine Johann Wilhelm II (1658–1716), an aficionado of Dutch painting who, together with the Danish kingFrederick IV (1671–1730) and the Prussian king Frederick I (1657–1713), was one of the artist’s mostimportant patrons in the final phase of his life. The contact with the Elector even led to a brief sojourn in
Düsseldorf in 1703. During this visit Johann Wilhelm presented Schalcken with a gold chain in gratitude for his© 2020 The Leiden Collection

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service, which he depicted in his self-portrait of 1706.[19] This was to be his last self-portrait; Schalcken died inThe Hague on 13 November of that same year.

- Piet Bakker, 2017© 2020 The Leiden Collection

Godefridus Schalcken
Page 4 of 7Endnotes

1. For the biographies of various celebrated members of the Lydius family, see Abraham Jacobvan der Aa, Biographisch Woordenboek der Nederlanden (Haarlem, 1865), 11: 775–91.
2. His father was initially a parish minister in Eethen and Drongelen (west of Den Bosch), and in
Drimmelen and Made from 1643 to 1654.
3. Houbraken’s assertion that Schalcken completed his training with Dou is confirmed by an
inscription on a contemporary portrait print of Schalcken: “Ger. Dow, Pictor Lugd. Batav.
Honorisergo

Praeceptorem

suum

delineavitG.

Schalcken.”

AlfredvonWurzbach, Niederländisches Künstler Lexikon (Leipzig, 1911), 2: 568; Annegret Laabs andChristoph Scho?lzel, The Leiden fijnschilders from Dresden, ed. Chrsitiaan Vogelaar (Exh.
cat. Leiden, Museum De Lakenhal; Dresden, Gemäldegalerie Alte Meister) (Zwolle, 2000),111n238.
4. On 30 September 1672, Godefridus Schalcken, together with several other members of hiscivic guard, made a statement regarding an unfortunate fellow militiaman who hadaccidentally shot two people. Those who made the statement are described as “hebbende nu
enige jaren herwaerts gewoont en gewaeckt [hebbende] onder het vaendel van deNieuwstraet (having now lived there several years and guarded [having been part of themilitia company] under the banner of Nieuwstraat). Exactly how long ago this was depends on
one’s interpretation of “enige” (several). The year 1669 as the earliest evidence ofSchalcken’s presence in Dordrecht seems entirely plausible, certainly because he hadpresumably been living in Dordrecht for quite some time. In any case, documentation
concerning a stay in Leiden in the 1660s has yet to be found.
5. For the Beens family, see G. van Niekerken, “Het geslacht Beens te Breda,” De
Nederlandsche Leeuw 98 (1981): 287–405.
6. For Pieter Roman, see Hans Vollmer, Allgemeines Lexikon der bildenden Künstler(Leipzig,1934), 28: 543.
7. Peter Hecht, ed. De Hollandse fijnschilders: Van Gerard Dou tot Adriaen van der Werff (Exh.
cat. Amsterdam, Rijksmuseum) (Amsterdam, 1989), 16. That this relationship between these
consecutive generations was also perceived by contemporaries is tellingly illustrated in astatement given in Dordrecht in 1676 incriminating the painter Theodorus Hartkamp(1635–89), who “met verachtelycke expressiën en cleyne estime soude gesproken hebben
van de schilderconste van Srs. Douw, Mieres en Schalcken” (allegedly spoke of the paintingof Messrs. Dou, Mieris, and Schalcken with disdain and low regard). His contempt,
presumably stemming from professional rivalry, was reserved specifically for Schalcken.
When Hartkamp refuted the accusation, he admitted that he could no longer remember his© 2020 The Leiden Collection

Godefridus Schalcken
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derogatory remarks about Dou and Van Mieris, “maer sooveel de schilderkonste van Sr.
Schalcken was aengaende” (but as regards the painting of Mr. Schalcken) it is certain “dat[Hartkamp] in geselschap heeft geseyt; Foutre Schalcke schilderkonst, Foutre het stuckje bij
denselven Schalcke van ‘vrouwken comt ten Hove’ gemaeckt, en veele diergelijcke
verachtende woorden meer” (that [Hartkamp] said in public: fuck Schalcken’s paintings, fuck
the painting by this same Schalcken of “Game of Lady Come into the Garden” and many
more equally scornful words). Abraham Bredius, “Onbekende schilders, o.a. Casparus Smitszich ook genoemd hebbende Theodorus Hartkamp,” Oud-Holland 33 (1915): 116–17. See
also Peter Hecht, ed. De Hollandse fijnschilders: Van Gerard Dou tot Adriaen van derWerff (Exh. cat. Amsterdam, Rijksmuseum) (Amsterdam, 1989), 182–85, no. 37.
8. “Welker behandeling hy vry wel heeft weten na te bootsen.” Arnold Houbraken, De grooteschouburgh der Nederlandsche konst-schilders en schilderessen, 3 vols. (Amsterdam,1718–21; revised edition published in The Hague, 1753; reprinted in Amsterdam, 1980), 3:
175.
9. Vrouwtje komt ten Hoof (“Game of Lady Come into the Garden”), oil on panel, 63.5 x 49.5cm, Buckingham Palace, London, H.M. Queen Elizabeth II. Arnold Houbraken, De grooteschouburgh der Nederlantsche konstschilders en schilderressen (Amsterdam, 1718–21; rev.
ed., The Hague, 1753; reprint, Amsterdam, 1980), 3: 175. This is Vrouwtje kom ten
Hoof (Game of “Lady, Come into the Garden”), late 1660s (Royal Collection Trust,
Buckingham Palace, London).
10. A telling example of Van Mieris’s influence on painters such as Schalcken, Van der Neer,and Netscher is found in their various scenes of women making music, which all rely on a
prototype by Frans van Mieris, Lute Player, 1663 (Scottish National Gallery, Edinburgh);
Naumann, Frans van Mieris (1635–1681) the Elder (Doornspijk, 1981), 2: pl. 52. Works withthis motif by Johannes Vermeer (1632–75) and Jan Steen (1626–79) also appear to bevariations on Van Mieris’s composition. John Loughmanh et al., “Godfried Schalcken,” in De
Zichtbare Werelt: Schilderkunst uit de Gouden Eeuw in Hollands oudste stad (Exh. cat.
Dordrecht, Dordrechts Museum) (Zwolle, 1992), 268–69, no. 73.
11. Peter Hecht, ed. De Hollandse fijnschilders: Van Gerard Dou tot Adriaen van der Werff (Exh.
cat. Amsterdam, Rijksmuseum) (Amsterdam, 1989), 13–19. Ekkehard Mai, “De Nederlandse
historieschilderkunst omstreeks 1700. Traditie, bloei en ‘verval’,” in De Kroon op het werk:
Hollandse schilderkunst 1670–1750, ed. Ekkehard Mai, Sander Paarlberg, and Gregor M.
Weber (Exh. cat. Cologne, Wallraf-Richartz-Museum; Dordrecht, Dordrechts Museum;
Kassel, Museumlandschaft Hessen Kassel) (Zwolle, 2006), 29–48. For a survey of Classicism
in North Netherlandish history painting, see Albert Blankert et al., Dutch Classicism inSeventeenth-Century Painting (Exh. cat. Rotterdam, Museum Boijmans Van Beuningen;Frankfurt am Main, Städelsches Kunstinstitut) (Rotterdam, 1999), 12–33.
12. Weber, “Een steile klim. Enkele aspecten van de ‘veradelijking’ van de schilderkunst rond
© 2020 The Leiden Collection

Godefridus Schalcken
Page 6 of 71700,” in De Kroon op het werk: Hollandse schilderkunst 1670–1750, ed. Ekkehard Mai,Sander Paarlberg, and Gregor M. Weber (Exh. cat. Cologne, Wallraf-Richartz-Museum;
Dordrecht, Dordrechts Museum; Kassel, Museumlandschaft Hessen Kassel) (Zwolle, 2000),51–60; Junko Aono, “Ennobling Daily Life: A Question of Refinement in Early EighteenthCentury Dutch Genre Painting,” Simiolus33 (2008): 237–57.
13. Portrait of William III (1650–1702), Prince of Orange, Stadholder and from 1689 on, King ofEngland, ca. 1692–97 (Rijksmuseum, Amsterdam).
14. Self Portrait, signed and dated1695 (Uffizi Gallery, Florence).
15. “Geraakte hy van tyd tot tyt tot een aangenamer en luchtvaardiger wyze van schilderen.”ArnoldHoubraken,

Degrooteschouburgh

derNederlantsche

konstschilders

enschilderressen (Amsterdam, 1718–21; rev. ed., The Hague, 1753; reprint, Amsterdam, 1980),
3: 138.
16. Peter Hecht, ed. De Hollandse fijnschilders: Van Gerard Dou tot Adriaen van der Werff (Exh.
cat. Amsterdam, Rijksmuseum) (Amsterdam, 1989), 186–89, no. 38
17. Peter Hecht, “Candlelight and Dirty Fingers, or Royal Virtue in Disguise: Some Thoughts onWeyerman and Godfried Schalcken.” Simiolus 11 (1980): 23–38.
18. “Zo plat als ongereeze pannekoeken” / “die vaste, ronde, losse en krachtige manier niet
[konden] zien, die zij zaagen op de heerlijke konterfeijtsels van den Ridder [Godfried] Kneller[…] en meer andere in die eeuw bloeiende Konterfijters” / “begeeven tot het schilderen vanhistoriestukjes en nachtlichtjes.” Jacob Campo Weyerman, De levensbeschryvingen derNederlantsche konstschilders en konstschilderessen (The Hague, 1729), 3: 13; Peter Hecht,“Candlelight and Dirty Fingers, or Royal Virtue in Disguise: Some Thoughts on Weyerman
and Godfried Schalcken.” Simiolus 11 (1980): 25n11.
19. Ekkehard Mai, Sander Paarlberg, and Gregor M. Weber, eds. De Kroon op het werk:
Hollandse schilderkunst 1670–1750 (Exh. cat. Cologne, Wallraf-Richartz-Museum; Dordrecht,Dordrechts Museum; Kassel, Museumlandschaft Hessen Kassel) (Zwolle, 2000), 264. ForSchalcken’s relationship with Elector Palatine Johann Wilhelm, see B. Roland, “Das letzte
Selbstbildnis von Godfried Schalcken,” Die Welkunst 33, no. 3 (1963): 10–11. For his sojournin

Düsseldorf,

seeFriedrich

Schaarschmidt,

Zur

Geschichte

derDüsseldorfer

Kunst (Düsseldorf, 1902), 15.

Literature
Houbraken,

Arnold.

Degrooteschouburgh

derNederlantsche

konstschilders

enschilderessen. Amsterdam, 1718–21; revised edition published in The Hague, 1753; reprintedin Amsterdam, 1980, 3: 175–79.
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Godefridus Schalcken
Page 7 of 7Weyerman, Jacob Campo. De levensbeschryvingen der Nederlantsche konstschilders en
konstschilderessen. The Hague, 1729, 3: 11–16.
Veth,G.H.

“GodfriedSchalcken.”

InArchiefvoor

deNederlandsche

Kunstgeschiedenis. Edited by F.D.O. Obreen, 6: 1–2. Rotterdam, 1887.
Veth,G.H.

“Aantekeningenomtrent

eenigeDordrechtse

schilders:

Godefridus

Schalcken.” Oud-Holland 10 (1892): 1–11.
Hecht, Peter. “Candlelight and Dirty Fingers, or Royal Virtue in Disguise: Some Thoughts onWeyerman and Godfried Schalcken.” Simiolus 11 (1980): 23–38.
Beherman, Thierry. Godfried Schalcken. Paris, 1988.
Hecht, Pieter, ed. De Hollandse fijnschilders: Van Gerard Dou tot Adriaen van der Werff. Exh.
cat. Amsterdam, Rijksmuseum. Amsterdam, 1989, 13–19, 165–96.
Loughman, John et al. “Godfried Schalcken.” In De Zichtbare Werelt: Schilderkunst uit deGouden Eeuw in Hollands oudste stad. Edited by Peter Marijnissen et al., 263–73. Exh. cat.
Dordrecht, Dordrechts Museum. Zwolle, 1992.
Jansen, Guido. “Godfried Schalcken.” In Dictionary of Art. Edited by J. Turner. London, 1996,
28: 49–50.
Mai, Ekkehard, Sander Paarlberg, and Gregor M. Weber, eds. De Kroon op het werk:
Hollandse schilderkunst 1670–1750. Exh. cat. Cologne, Wallraf-Richartz-Museum; Dordrecht,Dordrechts Museum; Kassel, Museumlandschaft Hessen Kassel. Zwolle, 2000.

© 2020 The Leiden Collection