Johannes Bosboom (1817-1891)

The interior of the St. Jacobskerk in Antwerp

signed 'J Bosboom' (lower centre); annotated 'L'église St Jacques Anvers' (on the stretcher)

oil on canvas, 103x85 cm
Painted circa 1840.

Exhibited:
-The Hague, Akademie van Beeldende Kunsten Den Haag, 'Tentoonstelling Levende Meesters', 10 May-June 1841, no. 40.

Literature:
-C.H. Dinkelaar and D.L. Kaatman, 'Johannes Bosboom (1817-1891), Schilder van licht, schaduw en kleur', Laren 1999, ill. p. 212, no. KB 104-1.

Provenance:
-Private Collection, Brussels.
-Auction, Sotheby Mak van Waay, Amsterdam, 5 October 1965, lot 59 (sold for: 6,000 Dfl.).
-Collection Walstijn, Zeist, by 1971.
-Auction, Sotheby's, London, 28 February 1973, lot 183.

In nineteenth century Dutch art Johannes Bosboom is regarded as the most important painter of church interiors. He was the student of famous cityscape painter Bartholomeus Johannes van Hove (1790-1880), which surely helped Bosboom to explore architectural subjects. From the beginning of his painting career, Bosboom’s talent could not be ignored. In 1836, at the age of 19-years, he won the gold medal of the Maatschappij Felix Meritis for his painting ‘Stadsgezigt aan het water met afgemeerd beurtschip’. Later that year he received much praise for his ‘Interieur van de Sint Jan in Den Bosch’ which was sold immediately. His early successes encouraged Bosboom to focus on church interiors. This subject would dominate his artistic life, even when his style changed under the influence of The Hague School painters.

In the early years of his career, Bosboom was attracted by the richly decorated catholic churches of Brabant and Belgium. It was in these typical baroque wriggles and twists that Bosboom could explore his romantic style. Like many other Dutch romantic painters, Bosboom admired the work of Wijnand Nuijen. This can be observed in his sumptuous depiction of baroque altars, sculptures, reliëfs and the subtle usage of light, all elements that create depth in the composition. Later in his life he would reflect about this period: ‘De Romantische beweging onder aanvoering van den Genialen Nuyen trok ook mij aan tot volgen, En al verviel men langs dien weg in gekleurdheid en opgesmuktheid, vaak ontaardende in chique, er ontsproot daaruit later een meer verstandig zoeken naar levendigheid van coloriet en verhooging van effect – vermeerdering van reliëf.'

This balanced composition shows a kneeling woman, ready to receive communion by the priest in the sacrament chapel. But the figures are only side characters of the painting. The church interior itself, constructed by imposing pillars and high vaults, absorb the attention of the spectator. The lavishly decorated chapel, with bas reliefs, Solomonic columns and stone sculptures, is a perfect playfield for the young Bosboom, intoxicated by the romantic style of Nuijen. The subtle monochrome tones are only coloured by the red of the priest and the yellow of the copper incense burners.

The present painting shows the interior of the Sint-Jacobskerk in Antwerp. This gothic church is mostly known for holding the funerary chapel of Antwerp’s greatest painter Peter Paul Rubens. Bosboom must have been inspired by Rubens’ ledger stone, because he signed this composition by placing his name on a ledger stone himself.

Source:
C.H. Dinkelaar and D.L. Kaatman, ‘Johannes Bosboom (1817-1891), Schilder van licht, schaduw en kleur’, Laren 1999.