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King Louis XIV and his Entourage at the Siege of Schenkenschans, 1672, Lambert de Hondt (II), c. 1675

  • Creation date1675
  • Dimensions63.0 x 89.0 cm

Discover Lambert de Hondt the Younger, a Flemish painter renowned for dramatic battle, equestrian scenes, and versatile landscapes. Explore his influential work at Brussels' Royal Museums and ArtsDot.

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The attribution of the present painting and its companion is discussed in the entry of the latter, SK-A-4663. The present painting, SK-A-4662, and its companion record the opening actions of the French army in the Franco-Dutch War of 1672-78. In the left foreground of the present painting looking at the spectator is the commander. He has been described as the Vicomte de Turenne (1611-1675), Marshal of France, who led the action;12 but more convincing is the figure’s identification as the King Louis XIV (1638-1715) of France. He holds a baton as supreme commander of the French army. The features may be compared with, and was probably inspired by, either the print of 1670 by Nicolas Pitau (1634-1671) after Claude Lefebvre (1632-1675)13 or that of 1666 by Robert Nanteuil (1623-1678).14 A reserve was left in the painting for the face to be filled in. The view of the fort of Schenkenschans, which was about 540 metres long and 270 metres wide, is taken from the north-east on imaginary high-ground above the river Spyck – with Eltenenberg, Lobith and the Ameliæ fort – looking in the direction of the city of Cleves which should be in the far distance left, leading in its direction is the winding ditch/stream known as the Vosse Spuij.15 The Rhine flows from the left past Griethuijsen (Griethausen) and then divides flowing down past Tolhuijs. From the fork, the river Waal flows past Bijlandt and Bijnen.16 The land lying between the two rivers is the Over-Betuwe. The lay-out of Schenkenschans in the present painting follows in a general way that in the engravings of 1635 published by Claes Jansz Visscher (1587-1652); however, the extent of the defences on the landward side are here shown much reduced. As was suggested in the 1986 Cleves exhibition catalogue, it is unlikely that De Hondt ever visited the Lower Rhine. He probably consulted the plans published by Visscher; but none subsequently published on which he could have relied has been traced.17 Schenkenschans was built by Martin Schenck van Nydeggen (1532?-1589), lieutenant governor of Gelderland, in 1586. Although today a diminutive hamlet following the alteration of the course of the Rhine in the eighteenth century, during the Eighty Years War, it was recognized as of great strategic importance: facing upstream it controlled river traffic entering the United Provinces. The Spanish had hailed as a triumph the stronghold’s surprise capture in 1635; a long siege by the Stadholder Frederik Hendrik (1584-1647) was necessary to reclaim it. The count-duke of Olivares (1587-1645), the chief minister of King Philip IV of Spain (1605-1665), described the fort as the ‘finest jewel in those lands with which to settle his [Philip IV’s] affairs’.18 It was taken by the French in 1672, after the capture of Rheinberg, which episode is depicted in the painting’s companion, also in the Rijksmuseum collection (SK-A-4663). Further discussion can be found in that entry. Gregory Martin, 2022

Artist Biography

The Legacy of Lambert de Hondt the Younger

Within the rich tapestry of seventeenth-century Flemish art, certain names flicker with a brilliance that transcends their often fragmented histories. Lambert de Hondt the Younger, also known as Lambert de Hondt II, stands as a compelling figure from this era, a painter whose work captures the kinetic energy and dramatic grandeur of his time. Born in Mechelen around 1642, he emerged from a tradition deeply rooted in the Southern Netherlands, carrying forward a legacy of technical precision and narrative power. While often overshadowed by the monumental reputation of his predecessor, Lambert de Hondt the Elder, the Younger carved out a distinct space for himself through his specialized mastery of movement, conflict, and the sweeping vistas of the landscape.

The artistic identity of de Hondt the Younger is inextricably linked to the themes of battle and equestrianism. He possessed a rare ability to translate the chaos of warfare into structured, visually arresting compositions. His canvases frequently depict the thunderous charge of cavalry and the strategic maneuvers of infantry, rendered with an eye for both the minute details of armor and the atmospheric haze of smoke-filled battlefields. This focus on military subjects allowed him to explore the interplay between human drama and the vast, often indifferent, natural world. Beyond the clash of steel, his repertoire extended into genre scenes and landscapes, where he demonstrated a versatile command over light and texture, breathing life into quiet moments of everyday existence and the rugged beauty of the Flemish countryside.

Technical Mastery and Artistic Vision

To observe a work by de Hondt the Younger is to witness a profound engagement with the Baroque sensibility. His technique was characterized by a meticulous attention to form, particularly in the depiction of equine anatomy and the complex folds of period drapery. He utilized light not merely as a tool for visibility, but as a dramatic instrument to guide the viewer's eye through the tumult of his compositions. This use of chiaroscuro—the stark contrast between deep shadows and brilliant highlights—lent his battle scenes an inherent sense of urgency and depth, making the viewer feel as though they were standing upon the very periphery of the fray.

His development as an artist was likely shaped by the vibrant artistic hubs of the Low Countries, where the influence of both Dutch realism and Flemish grandiosity converged. While his subject matter often leaned toward the heroic and the historical, there remains a grounded, observational quality in his work that prevents it from descending into mere spectacle. He had a remarkable talent for capturing the texture of reality—the sheen of a horse's coat, the grit of the earth, and the heavy atmosphere of an encampment. This dedication to detail ensured that even his most large-scale historical works maintained a sense of intimacy and visceral truth.

Historical Significance and Enduring Impression

The historical importance of Lambert de Hondt the Younger lies in his role as a chronicler of the era's martial spirit and landscape. His paintings served not only as aesthetic objects but as visual records of the tensions and triumphs that defined the seventeenth century. Through his work, we gain insight into the cultural fascination with heroism, nobility, and the organized chaos of the early modern military machine. His ability to blend the tapestry-like detail of Flemish tradition with a dynamic, almost cinematic approach to storytelling marks him as a significant contributor to the evolution of Northern European genre painting.

Today, his contributions are preserved in esteemed collections, such as the Royal Museums in Brussels, where they continue to offer scholars and art enthusiasts a window into a vanished world. Though the line between the Elder and the Younger de Hondt is sometimes blurred by history, the unmistakable vigor of the Younger's hand remains evident. He remains an artist whose work resonates with the pulse of history, reminding us of the power of paint to freeze the most fleeting and ferocious moments of human experience in a state of eternal, breathtaking grace.

Quick Facts

  • Artistic Movement Or Style: World Goes Pop
  • Artists Or Movements Influenced By This Artist: ['']
  • Artists Who Influenced This Artist: ['']
  • Date Of Death: 1708
  • Notable Artworks:
    • Evelyne Axell
    • Joav BarEl
    • Thomas Bayrle