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DiaporamaPortrait of Peter Courten, Salomon Mesdach (attributed to), 1617
1617
192.0 x 107.0 cm
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Portrait of Peter Courten, Salomon Mesdach (attributed to), 1617
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$ 263
This and the following eight works are from the large group of family portraits in the De Witte van Citters Bequest. Most of the paintings from that collection have an inscription on the back with biographical information about the sitter, one or more coats of arms, and a number. In a few cases there is an old label on the back with biographical information written by Johan Boudaen Courten (1635-1716) (SK-A-2068 and SK-A-910, for example). Most of the portraits in the bequest hung in Kasteel Popkensburg in Zeeland, which had been in the family since 1653.5 A large group, including the present painting, entered the Rijksmuseum by way of the Nederlandsch Museum voor Geschiedenis en Kunst after the death in 1876 of the testator, Jonkheer Jacob de Witte van Citters. Another group was given on loan to his sister, Carolina Hester de Witte van Citters, and only entered the museum after the death of her husband, the well-known collector Arnoldus Andries des Tombe.6 Sir Peter Courten is shown full-length, wearing a doublet braided with passements, and a whisk made solely of needlepoint lace. His breeches and doublet are slashed. The fashionable costume and expensive accessories proclaim the sitter’s wealth, as does the Turkish carpet on the table.7 The young man’s identity has recently been the subject of discussion. According to an 18th- or 19th-century inscription on the back of the original canvas,8 he is William Courten.9 Willem Courten was born in 1607 and christened William in London on 29 November that year, and died between 1662 and 1666. He was the son of the rich silk and cloth merchant Sir William Courten (1572-1636) and his second wife, Hester Tryon. The younger William was barely nine or ten years old in 1617, whereas the sitter looks older and taller than a boy of that age. Wolleswinkel suggested that the young man might be William’s half-brother, Peter Courten (1599-1624), the son of Sir William’s first marriage to a woman of the Crommelin family.10 Although the sitter’s features make him look a little younger, the 17 or 18-year-old Peter is a more plausible candidate than his half-brother, who was eight years his junior. This identification has been strengthened by the discovery of an 18th-century document in the family archives stating that the sitter is the son of Sir William Courten’s marriage to a Miss Crommelin.11 Dudok van Heel put forward the theory that this portrait is by an English artist from the circle of the English portraitist Robert Peake (1551-1626), but apart from similarities in the composition and dress, there is little stylistic affinity.12 Although full-length portraits were not very common in Dutch art around 1617,13 it is not that fanciful to look for the painter in the province of Zeeland. Thanks to a recent discovery by Ekkart, it is known that full-length portraits were already being made there in the 16th century.14 The young Courten had relatives living in Middelburg, and was himself buried there in 1624,15 so it is perfectly conceivable that his portrait was painted in Middelburg. The attribution to Salomon Mesdach has been retained in view of the stylistic similarities to the portraits of Peter’s relatives.16 Gerdien Wuestman, 2007 See Bibliography and Rijksmuseum painting catalogues See Key to abbreviations and Acknowledgements This entry was published in J. Bikker (ed.), Dutch Paintings of the Seventeenth Century in the Rijksmuseum Amsterdam, I: Artists Born between 1570 and 1600, coll. cat. Amsterdam 2007, no. 173.
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Artist Biography
The Enigmatic Brush of Salomon Mesdach (Attributed To)
Salomon Mesdach remains a figure shrouded in the mists of art historical attribution, a name whispered alongside canvases brimming with Dutch Golden Age sensibilities yet lacking definitive biographical anchors. While concrete details regarding his life are scarce – birth and death dates remain largely unknown beyond an active period suggesting activity into the 19th century – the works attributed to him speak volumes about a painter deeply immersed in the traditions of genre painting, particularly those scenes depicting intimate domesticity and the quiet dignity of everyday life. He is often associated with the circle of painters working in or around The Hague, though establishing a firm connection proves elusive. This ambiguity adds an intriguing layer to his oeuvre; each canvas feels like a rediscovered fragment of a forgotten world, prompting speculation about his training, influences, and place within the broader artistic landscape.A Master of Interior Light and Narrative
The paintings consistently attributed to Mesdach are characterized by a remarkable sensitivity to light – not the dramatic chiaroscuro favored by some contemporaries, but rather a soft, diffused illumination that bathes interiors in a warm, inviting glow. This mastery allows him to render textures with exquisite detail: the sheen of polished pewter, the delicate folds of linen, the subtle gradations of color in a woman’s dress. More than mere technical skill, however, Mesdach demonstrates an exceptional ability to imbue these scenes with narrative depth. His subjects are rarely grand or overtly dramatic; instead, he focuses on moments of quiet contemplation – a mother reading to her children, a family sharing a meal, a solitary figure lost in thought. These are not staged tableaux but glimpses into the lived experiences of ordinary people, rendered with empathy and psychological insight. The compositions often feature carefully arranged objects that subtly hint at deeper meanings, inviting viewers to contemplate the lives unfolding within these domestic spaces.Influences and Artistic Lineage
Pinpointing Mesdach’s direct influences is a complex undertaking, given the lack of documented connections. However, scholars frequently note stylistic affinities with painters such as Pieter de Hooch and Jan Steen – masters renowned for their depictions of Dutch interiors and genre scenes. Like De Hooch, Mesdach exhibits a keen eye for architectural perspective and a talent for capturing the play of light on surfaces. The influence of Steen can be seen in the subtle humor and anecdotal details that occasionally surface in his work, though Mesdach generally avoids Steen’s more boisterous and overtly comedic tendencies.- The meticulous detail and realistic rendering suggest an awareness of the Leiden tradition
- A preference for harmonious color palettes points to a possible familiarity with the works of Gabriel Metsu.
- His focus on domestic interiors aligns him with the broader trend of Dutch Realism, which sought to depict the world as it was, without idealization or embellishment.
Rediscovering Mesdach: A Legacy in Quiet Observation
Despite the uncertainties surrounding his biography, Salomon Mesdach’s work continues to captivate and intrigue. His paintings offer a rare glimpse into the daily lives of 17th- and 18th-century Dutch society, rendered with remarkable sensitivity and technical skill. While he may not be a household name like Rembrandt or Vermeer, his contribution to the genre painting tradition is undeniable. The enduring appeal of his work lies in its ability to evoke a sense of intimacy and quiet contemplation, inviting viewers to connect with the subjects on a deeply personal level. As more paintings are attributed to him – often through careful stylistic analysis and provenance research – Mesdach’s place within the art historical canon is slowly being solidified, ensuring that his legacy of quiet observation will continue to resonate for generations to come. His work serves as a poignant reminder that beauty can be found not in grand gestures or heroic narratives, but in the simple moments of everyday life.
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