Jan van der Heyden (1637–1712): The Dutch Canaletto

Considering the many publications and exhibitions devoted to the Venetian view painter Canaletto (1697–1768), it is surprising that so little attention has been paid to his great Dutch predecessor, Jan van der Heyden (1637–1712), who died when the young Canaletto was still finding himself, artistically speaking. Jan, generally acknowledged as one of Holland's finest painters of city views, who doubtless helped inspire Canaletto, produced numerous masterpieces of Amsterdam's notable landmarks, including the New Town Hall of Amsterdam, the Oude Kerk, and the Nieuwe Kerk, as well as views of Amsterdam's finer houses, such as those along the Herengracht and Liliengracht canals.

Able to balance detailed observation with a sense of totality, Jan achieved images of hyperrealism that are sometimes strikingly modern and still appeal. His experiment with landscape on glass, in Amsterdam's Rijksmuseum, is reminiscent of Samuel Palmer, while his foray into imaginary architecture, in London's National Gallery, looks strikingly contemporary in its sparse, clearly lit starkness. Most unusual, Jan was a mechanical engineer who contributed a street lighting plan for Amsterdam, which earned him an appointment as the city's director of municipal lighting (1669–70). He subsequently invented a pumping mechanism, produced a book on fire pumps in 1691, which he illustrated, and grew wealthy manufacturing and selling firefighting equipment. Perhaps because his patrons were generally Amsterdam's citizens (though his clients included the Grand Duke of Tuscany), interest in van der Heyden has lagged behind Canaletto, who supplied English grand tourists with his celebrated mementoes of Venice.

Thanks to Peter Sutton, whose groundbreaking scholarship has enlightened us about many other Dutch topics, including genre subjects, we now have access to fundamental information about Jan, in a handsome volume, with full-page color illustrations, that serves as a welcome and long-overdue addition to the literature, and accompanies the first exhibition devoted to the artist in twenty years. Every part is well designed, well organized, and immensely helpful, not to mention absorbing. This volume provides a very useful compendium of information, including the origins of the cityscape that Jan did so much to advance. There is a fascinating discussion of van der Heyden's techniques, including his use of counterproof of prints to assist in rendering architectural details with preternatural precision. Sutton discusses van der Heyden's output, including views of other cities in Germany and Belgium, particularly Cologne, his views of Amsterdam, as well as his depictions of area palaces, castles and country houses, and still lifes. This biography even sets the stage for van der Heyden's interest in technology: his brother had a mirror manufacturing business, and as a boy, Jan witnessed the old town hall burn down in 1652, which doubtless inspired his interest in firefighting.

A chapter on visual aids, such as the camera obscura, provides insight into van der Heyden's grasp of perspective. This is followed by a fascinating chapter on his inventions, most notably his firefighting equipment, that includes examples of the prints he produced to illustrate the use of his fire pumps. These have great interest beyond merely the technology, since they give us intimate glimpses into workaday Amsterdam. The chapter on the history of ownership is fascinating, as it yields new information about van der Heyden's patrons. Because of the money he earned by his inventions, Jan did not have to sell, and many of his works remained in his possession on his death (interesting in and of itself, because it indicates he painted not so much for the market, but to please himself). His paintings of estates, notably Goudestein, likely were done for Joan Huydecoper II (1625–1704), lord of Maarsseveen, while a painting of a fire pump belonged to one of Jan's fellow city employees. We also find evidence of his work appealing not just to those with special ties to the artist, but also to collectors of city views. A detailed chapter on techniques enlightens...