HENDRICK VERSCHURING (Gorinchem 1627 – Dordrecht 1690)
The Pont des Treilles on the Maine in Angers (also known as the Pont-Neuf in Angers)
signed and dated H. Verschuring fecit A° 1663 in the lower center foreground
oil on canvas
26 x 36 ½ inches (66 x 92.7 cm.)
A LOST MONUMENT IN ANGERS
Gorinchem is a small town in the middle of the Netherlands approximately 40 km/25 mi south of Utrecht. The only fully fortified town still in existence in the country, it has a rich history of trade sitting firmly on the river Merwede. Because it serves as a transit route to the south, including Brussels and Paris, and to the east and the German states, Gorinchem, like many cities in the 17th century Dutch Republic during this time it was flourishing. What makes Gorinchem so interesting is how many artists came from this small but notable place.
Hendrik Verschuring was born in Gorinchem in 1627 just after the end of the 12 years truce (a break from the 80 years’ war). He was the son of a military man. How much of one is probably up for debate, but his father is noted as such. We must wonder if Verschuring’s father wanted to keep his son out of military service or if he felt it wasn’t for him, but at age 8, Verschuring was sent to apprentice with the portrait painter Dirck Govertsz. who was also known to have lived in Gorinchem during this time.
Reading this, it seems like an interesting thing for a military father to do and the modern reaction would be to assume that this child was too precocious to join the military and what was a father to do but send him in another direction. However, the history of this small walled city makes you wonder if this was fatherly ambition. Gorinchem had already produced an impressive array of 17th century artistic stars; Abraham Bloemaert (b.1566), Anthonie Verstraelen (b.1593/1594) Aert van der Neer (b.1603) and Cornelis Saftleven (b.1607), among others. However, most of these artists left quite quickly, never to return.
Not too much is known about Govertsz. or Verschuring’s time there, but one can imagine it was the equivalent of being sent off to a very strict school. The senior artist was already 60 when the 8-year-old arrived, and he likely had a heavy number of laborious chores lined up for the child and we can assume the young Verschuring was worked hard.
In about 1643, Verschuring ‘graduated’ and was then sent off to an apprenticeship in Utrecht. Gorinchem had just finished modernizing with brand new fortifications and it was still 5 years before the Treaty of Munster would establish the Republics, so it was not a peaceful time. The parents and teacher must have seen real promise in the boy if they took an opportunity to send him away during war. Utrecht at this time was a lively city with a mix of Catholics and Protestants. It was known to be a tolerant city. At the studio of Jan Both, after Both’s return from Italy, Verschuring probably started out, as in Govertsz. studio, doing whatever chores the senior artist required, eventually growing into a talented young artist. However, Utrecht was also artistically collaborative. Verschuring was surely hanging out with some of the most important artists at that time and absorbing not only the talent but the tolerance for new ideas. Surely Both must have extoled the virtues of a travel abroad and in 1647 Verschuring ‘graduated’ from Both’s studio and started the celebrated gap year(s) in Italy.
It is likely Verschuring lived it up in Italy, a member of the Bentveughels (sadly his Bent name is unknown) and considered a Bamboccianti painter along with many of his compatriots including Jan Baptiste Weenix, Michael Sweerts, Karel Dujardin and Anton Goubau, he was exposed to countless styles and creative ideas. It is interesting to think how lucky these artists were to escape the war, but also how dangerous their travel must have been. But after a couple of years, he started to return home. He met the son of the Amsterdam mayor in Paris on the homeward bound journey and was convinced to extend his stay and return to Rome.
Around 1652, with all the advice and experience under his belt, Verschuring left Rome and returned to Gorinchem, a place he had not lived in for almost 15 years. The Anglo-Dutch war was just starting, and it must have felt strange to come back after living in Paris, Rome, and Venice. By even today’s standards Gorinchem is not a metropolis by any stretch of the imagination. However, this worldly education he received paid off. More interestingly is why he returned to Gorinchem. Most of the great artists had moved away permanently, but Verschuring clearly had a pride of place.
Verschuring not only threw himself into his work but into his beloved town. He married (twice) and had a very successful career as an artist. He was also mayor of the town at one point, and continuously had very active rolls in the town civics as an alderman and other civic positions. Verschuring clearly loved his town and his place, but he continuously painted Italianate Landscapes, with these fantasy images of Italy and his travels. He was drawing on his past experiences to make beautiful art. Did he miss his freedom and travel? Or maybe the life of a big city artist? Or maybe, just maybe he was just happy in the place he was. Content with his life but wanted to encourage others to make the journey. We will never know what brought him and kept him in Gorinchem, but he definitely does disprove the notion you can never go home again. Clearly some of us can!
2 August, 2023