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244:. His last years were spent in prosperity thanks to his wife's share of the estate of her stepmother, and thanks also to sales of his pictures. On 19 December 1631, Porcellis lay 'ziekelijk te bedde' in his house in Zoeterwoude, and made his will; on 29 January 1632 he died. His widow was legatee, with a provision that the third child and only son, Julius, would receive "all the paintings and works in the artist's possession at his death, to wit, those by the artist's hand and signed with his name, and no others".
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atmosphere contrasts and blurs the horizon and the ships in the distance. The mottling of the sky is projected by the sun upon the brown land which turns green in the light. These effects were never attempted by Vroom or his contemporaries, and in fact they were very advanced for this early date, which will be continued in
Porcellis' lifelong preoccupation with the subtleties of weather.
319:. These seascapists, more often than not, followed Porcellis in his depictions of anonymous ships surrounded by vast expanses of sea and sky (Slive 217). Rather than being commissioned, these paintings were usually made to sell on the open market, which can be reflected by the fluidity in stylistic elements not traditionally characteristic of marine painting (Slive, p. 217).
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Porcellis' skies were groundbreaking in many respects such as setting, subtle changes in landscape, and shifting moods. Most of his mature works portray the sea as hospitable, if uncomfortable or dangerous. Porcellis' contribution to Dutch art also lies in his emphasis on the dramatic effects of light, while having a generally restrained composition.
267:. Henrick Vroom, whom Houbraken claims was Porcellis' teacher, was skillful at ship-painting, covering subjects such as fish, fishermen and other boatmen. Porcellis' earliest paintings, of the period up till 1612, demonstrated that he had mastered Vroom's style which enjoyed much popularity at the time.
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in the seventeenth century. His works initiated a "decisive transition from early realism to the tonal phase", fostering a new style and subject in marine painting by focusing on overcast skies and rough waters, a radical break from maritime art's previous focus on the grandeur of ships in historical
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For all the perils he portrays, Porcellis puts less emphasis on spectacular destruction. The fact that no big ship wrecks are directly portrayed proves this point. The audience are rather invited to make out what happens gradually. Porcellis' ships sit has a solid presence in water and the grey hazy
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By 1615, Porcellis faced financial constraints: he acquired three children, declared bankruptcy in
Rotterdam and moved to Antwerp. Most of the paintings made in this period were serialized and sold in open markets; since they are not signed by Porcellis, they're considered lost. Thus, only about ten
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vessels sailing in a fresh breeze. This was the first Dutch painting to be set in an anonymous seascape, unidentifiable with the famous ports. The masterly arrangement and stylisation of the formal elements indicate that
Porcellis had reached maturity of his work at the time this panel was painted.
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was the only representation of battle at night in Dutch art. In
Porcellis' era, the ship was considered a metaphor for the human soul and sea voyage a symbol for human life. In account of which, the marine themes such as storm at the sea or shipwreck remind the spectator of human frailty and divine
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with his three children, where he married
Janneke Flessiers, daughter of Balthasar Flessiers (painter and print publisher). Porcellis continued the tradition of marine painting, but the setting of his pictures was never clarified and left ambiguous; this contrasted the usual style of contemporary
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Porcellis' two years in
Haarlem probably saw the beginning of his reputation and prosperity. He gained more popularity because of the detail in his paintings, particularly in portraying the Beach View of Haarlem, various of which were found scattered in other European places and palaces, such as
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Nine out of ten of
Porcellis' works before 1620 portray vessels of the Dutch fleet, representing battles, storms, or harbour views. This was a familiar subject by earlier sea painters as well. However, the first dated work of 1620 marks a change in his style. The panel portrays small transport
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Jan
Porcellis' Haarlem period, 1622-1624, was the beginning of his prosperous period where he produced paintings in the style of views of the beach, a local specialty. This period also saw him producing near monochrome works of sky, characterised by effective manipulations of light and shade.
145:, around 1580 or 1584. Though his birth date can't be exactly determined, it can't be after 1584, since in that year his parents joined Protestants fleeing from Ghent, a city that had recently captured by Spaniards from the Northern Netherlands for a second time. He married in
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His most famous works can be seen across the globe in not only the
Netherlands, but also Russia, Germany, the UK, France, and North America. His most famous seascape paintings can be seen at the Heritage Museum in Saint Petersburg, Russia and the Rijksmuseum in Amsterdam.
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Jan
Porcellis established an original manner of Marine painting focusing on tonal effects, fostering vivid atmospheres and seascapes in a monochromatic fashion. These stylistic elements were later seen among his contemporaries such as
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pictures from these years can be identified. Up to 1620, only about 10 works can be surely attributed to Porcellis, most of which represent battles, storms and harbor views. Prior to leaving
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settings. This style of greater simplicity surrounding maritime art, with the majority of the canvas displaying sea and sky, set the grounds for later works in this genre.
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His early paintings date from 1612. His style became recognizable because of the use of many different light hues, exemplified in paintings such as
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which, as its name indicates, features a marine conflict in dim light, with enemy ships barely visible and a gradual recognition of the subjects.
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reflects many characteristics which were important in Vroom's era, both in terms of its theatrics and in its conventions of rendering.
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Walsh Jr., John (December 1974). "The Dutch Marine Painters Jan and Julius Porcellis-II: Jan's Maturity and 'de jonge Porcellis'".
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where the fights go on the distance while fishing continues in the foreground, seems to inspire thinking on human mortality.
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Porcellis was recognized as a remarkable painter, said to be far superior to fellow Marine painter Hendrick Vroom by
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in Rome, or in the collection of the Emperor of Germany. In these years Porcellis' series of twenty etchings,
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Walsh Jr., John (November 1974). "The Dutch Marine Painters Jan and Julius Porcellis 1: Jan's Early Career".
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Walsh, John (1 January 1974). "The Dutch Marine Painters Jan and Julius Porcellis-1 Jan's Early Career".
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which includes light effects previously unseen. Also notable from this period is Porcellis' rendition of
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power. Whether Porcellis' paintings have a moral message is uncertain, but the arrangement as seen in
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At some time between 1627 and 1629 he moved more or less permanently to
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collecting his works. He was celebrated by Samuel Hoogstraten as the
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National Maritime Museum biography of Jan and Julius Porcellis
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Jan Porcellis at the Netherlands Institute for Art History
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Single-Masted Damlooper and Rowboat on a Breezy Day
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263:Jan Porcellis developed in the tradition of Dutch
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153:, and was an extensive traveler. According to
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133:by Jan Porcellis. Oil on canvas, 1614-1618,
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161:as a teacher, though this remains unproven.
402:(c. 1629), Los Angeles County Museum of Art
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384:(1618), National Maritime Museum, London
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408:(c. 1630), Hermitage, Saint Petersburg
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372:Ships in a Storm on a Rocky Coast
131:Ships in a Storm on a Rocky Coast
444:Musée des beaux-arts de Bordeaux
382:Dutch Vessels in a Strong Breeze
344:great Raphael of marine painting
396:(1629), Alte Pinakothek, Munich
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400:Vessels in a Moderate Breeze
188:In 1622, Porcellis moved to
487:Dutch Painting: 1600 - 1800
418:Vessels in the Strong Winds
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217:; by 1626 he had moved to
141:Jan Porcellis was born at
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489:. Yale University Press.
157:, Porcellis studied with
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254:, 1630, by Jan Porcellis
252:Vessels in a Strong Wind
104:– 29 January 1632
573:The Burlington Magazine
558:The Burlington Magazine
536:The Burlington Magazine
485:Slive, Seymour (1995).
430:Shipping in Stormy Seas
352:Henrick van Anthonissen
412:Fisherman Hauling Nets
358:(Slive, p. 218).
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332:Allart van Everdingen
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122:Early life and career
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689:Dutch marine artists
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317:Salomon van Ruysdael
288:Sea Battle by Night,
184:Later life and death
684:Dutch male painters
612:on 25 January 2017.
435:Sea Battle at Night
340:Jan van de Cappelle
324:Constantijn Huygens
240:in the environs of
170:Sea Battle at Night
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663:Categories
450:References
440:Calmy Seas
151:Middleburg
83:Marine art
420:(c. 1630)
390:(c. 1620)
328:Rembrandt
223:The Hague
215:Amsterdam
147:Rotterdam
100:(1580/84
34:1580/1584
635:20 March
406:Seascape
219:Voorburg
79:Movement
73:Painting
197:or the
190:Haarlem
178:Antwerp
585:877870
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414:(1630)
354:, and
338:, and
336:Rubens
315:, and
302:Legacy
242:Leiden
581:JSTOR
366:Works
259:Style
221:near
143:Ghent
102:Ghent
63:Dutch
38:Ghent
637:2016
491:ISBN
117:Life
45:Died
31:Born
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