NICOLAES MAES (Dordrecht 1634 – Amsterdam 1693)
A Portrait of a 27-Month-Old Boy
signed, inscribed and dated in the lower left: Æ 27 M*** MAES F. 1687
oil on canvas
38 x 28 inches (96.7 x 71.2 cm.)
TWO MASTERS ARE BETTER THAN ONE?
Anthony van Dyck emerged as a dominant force in portraiture around 1617. He was admitted to the Antwerp Guild, working under Rubens, and traveled extensively in England and Italy, returning to Flanders for brief periods while working mainly as a court painter. Van Dyck’s influence on painting during this time is evident, and despite the lack of direct mentorship, Nicolaes Maes became one of his star pupils.
Nicolaes Maes was born in January 1634 in Dordrecht, a coincidence since this is one of the few years that Van Dyck spent in Antwerp. Maes’ family was well-off, likely supporting him in his pursuits as an artist. Around 1648, Maes moved to Amsterdam and entered Rembrandt’s studio, where he remained for about five years. By 1653, two years after Van Dyck's death, Maes returned to Dordrecht and established himself as an independent artist.
Maes was greatly influenced by Rembrandt, particularly in his use of light, and his early works demonstrate his devotion to his master’s craft. However, in the late 1650s, Maes traveled to Antwerp, where he studied the work of Rubens, Van Dyck, and Jacob Jordaens. It is said that he spoke at length with Jordaens about painting, which sparked a noticeable shift in his style, aligning more closely with the refined elegance seen in Van Dyck’s portraits.
By incorporating Van Dyck’s stylistic features, Maes not only expanded his repertoire but also elevated the status of his own portraiture, enhancing the perceived status of his sitters. This adaptation in style cemented his importance in the competitive art market. Maes’ portraits became highly in demand, sealing his legacy as a master portraitist, particularly of children. The grace and sophistication applied to Van Dyck’s adults were mirrored in Maes’ portraits of children. Whether this was a smart business move or a personal passion is unknown, but it undoubtedly increased his demand even further.
Nicolaes Maes’ ability to integrate the influences of both Rembrandt and Van Dyck made him a celebrated artist of the 17th century. His child portraiture still carries a joie de vivre unmatched by other artists. Maes' ability to absorb and adapt his own work by studying not just one but two once-in-a-generation talents prompts the intriguing question: what might he have achieved if he had been inspired by a third?
July 10, 2024