8.2 Wouwerman in the Lubbeling Collection
The fact that Wouwerman was prominently represented in the Lubbeling collection in Amsterdam, is confirmed by Gerard Hoet's (1698-1760) well-known publication of Dutch collections from 1752.1 Hoet names 63 works of 37 artists in the Lubbeling collection, including seven works by Philips Wouwerman.2 Tischbein's description of a painting 'on which a dark, iron-clad knight sat on a white horse and was heavily illuminated by the sun' matches Hoet's description of a picture as a 'Christian Knight on horseback'.3 There are three paintings known with the motive of the Christian Knight – one is owned by a private collection, one is in Geneva and one in Boston [6-8].4 However, a clear identification of the painting Tischbein saw in Lubbeling's collection is no longer possible.
Tischbein acknowledged Wouwerman's achievement with the words: 'This was a masterpiece of excellent drawing and the most beautiful horse I have seen by him'. Such a conclusion requires both knowledge of the artist's oeuvre and confidence, although he was initially mistaken in the attribution. Max J. Friedländer emphasized the importance of intuition and the first impression of the original. At the same time, he pointed out that even a connoisseur could be wrong and should be allowed to change his mind.5 In the eyes of Tischbein, Wouwerman did not have to shun the comparison with Rembrandt. In this case, remarkably, his work was even considered superior.
The Christian Knight is a rather rare motif in Dutch art. The central figure is a pilgrim or knight on his way to God who defies all dangers and does not allow himself to be dissuaded from this path. This topic was described by Desiderius Erasmus (1467/9-1536) and in the letters of the Ephesians (NT 6, 10-17) it finds its correspondent in the 'militia christiana'. One of the best-known depictions of the subject is Albrecht Dürer's (1471-1528) master engraving Knight, Death and Devil from 1513. Wouwerman depicts the subject by means of a knight on a grey horse in front of a dark background. The background draws all attention to the horse, so that the knight seems to play a secondary role in this image. This is particularly clear in the earlier version of the Christian Knight from 1655 [6]. The white horse presents itself proudly and self-confidently in the midst of the lurking dangers. The knight in his artfully designed armour looks unimpressed into the distance, with his shield and lance serving more for decoration than for defence. The other figures, personifying the various dangers to the knight's progress, particularly those of death and ruin, take a back seat: on the left-hand side a skeleton with a spear is depicted in its attack on the knight (the death); a diabolical dragon-like creature is lurking at the rider's feet in the middle of the image (the devil); and on the right-hand side, the personification of Chronos in the form of an old winged grim reaper riding a small donkey is visible (the time). The obligatory overturned hourglass lies on the ground at the feet of the knight, who pays little attention to what is happening and seems to be immune to the dangers. He is already on the right path – according to the general interpretation, on the path to true eternal life.
In contrast to this is the Christian Knight in Geneva, made around 1662 [7]. Here the main character is much more active and present. The knight is shown with his weapons drawn, while the attackers are already defeated on the ground. The red cloak he is wearing over the armour flutters in the air, giving him more weight visually. The grey horse gallops to the left parallel to the picture and presents itself to the viewer in an advantageous manner. Although the knight wears shiny black armour, both the red cloak and the white horse make him stand out against the dark background. Through this effect he resembles an apparition. In the Boston version with the alternative title Knight, Death and Devil from 1662, the knight can finally be seen in action [8]. In this image, he is fighting against a whole host of dangers and demonic beings – including the seven deadly sins – with his sword held up high.
6
Philips Wouwerman
The Christian knight, dated 1655
Private collection
7
Philips Wouwerman
The Christian knight, c. 1662
Geneva, Musée d'Art et d'Histoire de Genève, inv./cat.nr. 1942-0029
8
Philips Wouwerman
Knight defeating Time, Death and monsters, dated 1662
Boston (Massachusetts), Museum of Fine Arts Boston, inv./cat.nr. 1981.78
Notes
1 Hoet 1752. Under the title Catalogus van Schildereyen, In't Cabinet van den Heer Johannes Lubbeling, in Amsterdam the inventory of the Lubbeling Collection is passed down. It can be assumed that this is the collection of Johannes Lubbeling (the Elder), which later passed into the possession of his son Joannis Lublink. The preparation and sometimes the publication of such lists was a form of (re)presentation of collections that had been handed down in the 17th century. The catalogues reflect the collector's pride and give information about how many artists and works a collection could list and which famous artist names were represented in it. Only twenty years after Tischbein's visit, this detailed list offers an excellent corrective for evaluating his memories.
2 Hoet 1752, vol. 2, p. 517-522. 'Een stuk daar ze van de Jagt koomen, vool beelden en Paarden, door Philip Wouwerman, h. 3 v. 7 d., br. 3 v. [...] Een dito verbeeldende een Christelyke Ridder te Paard, door denzelven, h. 2 v. 10 en een half d., br. 3 v. 3 d. [...] Een stuk daar de Heer te Paard sittende door Struykrovers geattaqueer word, door J. Wynants, gestoffeert door Philip Wouwerman, h. 3 v. 7 d., br. 3 v. 2 en een half d. [...] Een dit mit beelden den Paarden, door denzelven, gestoffeert door denzelven, h. 3 v. 5 d., br. 2 v. 7 en een hald d. [...] Een dito met Beesten en Schaapen zu capitaal en schoon als van deese twee Meesters bekend is, door denselven, gestoffeert door Adr. van de Velde, h. 3 v. 7 d., br. 2 v. 7 d. [...] Een dito door denzelven, capitall gestoffeert door J. Lingelbag, h. 4 v. 9 d., br. 4 v. [...] Een stuk daar in een Resconter van verscheyde Ruyters, door Moucheron, gestoffeert door Philip Wouwerman, h. 3 v. 1 d., br. 2 v. 5 d.'. On Wouwerman and Lubbeling: Hofstede der Groot 1976, vol. 2, no. 25c, A Christian Knight on Horseback, no. 708b Returning from the Chase, no. 1030 Riding at the Herring.
3 'Een dito verbeeldende een Christelyke Ridder te Paard'. Hoet 1752, vol. 2, p. 518. According to Hoet there was no Rembrandt in the Lubbeling collection.
4 Philips Wouwerman, Christian Knight, 1655, oil on wood, 75 x 64 cm, private collection. Philips Wouwerman, Christian Knight, c. 1662, oil on wood, 64 x 53 cm, Geneva, Musée d’Art et d’Histoire. Philips Wouwerman, Christian Knight, 1662, oil on wood, 66 x 48 cm, Boston, Museum of Fine Arts. Duparc 2009-2010, p. 33-34, 37. Schumacher 2006, p. 385, no. A552, p. 387, no. A557, p. 392, no. A570. Duparc 1993, p. 275-276.
5 Friedländer 1957, p. 114, 113-118.