A LOVE LETTER TO UTRECHT
Jan Hendrik Verheyen was a distinguished 19th century Dutch painter best known for his meticulous cityscapes, particularly of his hometown, Utrecht. Verheyen’s passion for Utrecht went far beyond that of a casual observer or even an artist seeking inspiration. Utrecht was Verheyen’s muse.
From a young age, Verheyen exhibited a strong connection to his surroundings. Although he initially trained as a notary, he harboured an enduring passion for painting, and encouraged by his parents, he began to pursue art as a full-time career at the age of 21. His formal training began under the Utrecht-based carriage and decorative painter Nicolaas Osti, but it was his exposure to cityscape painting—particularly through copying works by the great Dutch 17th century painters such as Jan van der Heyden—that would shape his artistic path.
Utrecht, with its rich medieval heritage, was the perfect subject for Verheyen’s careful brushwork and precise style. His paintings captured the charm of the city’s 17th and 18th century houses, canals, and imposing churches, such as the iconic Dom Tower, Utrecht’s most recognizable landmark. His early paintings of Utrecht are not only accurate representations of the city but also act as a kind of visual record of its historical architecture. Many of the buildings he painted were either being demolished or altered during his lifetime, and his early works offer a glimpse of Utrecht’s architectural past, frozen in time.
As any artist does, Verheyen started to grow and develop his art. Later cityscapes began to blend realism with imagination. His passion for Utrecht was still there, his muse ever changing, and he was becoming nostalgic for his young love. His later paintings often feature idealised or fictionalised elements, however his attention to detail and care for his subjects never wavered. You feel his fondness for his subject in every stroke of his brush, an idealised and romanticized vision of his beloved Utrecht.
Verheyen’s affection for Utrecht extended beyond the city’s physical structures; he also sought to capture the daily life of its inhabitants, featuring figures engaged in everyday activities, such as walking the streets or trading goods. Interestingly, while Verheyen’s architectural depictions remained rooted in history, the people he painted were typically dressed in contemporary clothing. This juxtaposition between the old and the new underscores Verheyen’s vision of Utrecht as a living, evolving city.
The passion for Utrecht exudes through the panel. Verheyen’s works are hyper-detailed but not at all cold. The warm color palette he often used gives his paintings a comforting, nostalgic glow, as if the viewer is looking back on a golden era of Utrecht’s history. They evoke this charm and love for his city, his muse, in all its splendour and perfection. His body of work stands as a testament to his deep affection for the city and his desire to preserve its history for future generations. His love letter to the city is something to be cherished for many years to come.
October 9, 2024