WITHOOS, Matthias

This architectural capriccio shows the Forum in Rome, with the Arch of Constantine and the Coliseum in the background. It combines elements of Roman architecture with highly naturalistic depictions of trees and flowers. The foreground section of the canvas, dominated by flowers, could constitute a painting in itself as it appears to stand apart from the rest of the composition.

Matthias Withoos was the follower of Otto Marseus van Schrieck (1619-78). Although Withoos also painted topographical views, harbours and portraits, they are best known for their mysterious dark close-ups of the live undergrowth of forest floors that give detailed views of wild flowers, weeds, thistles, and mushrooms animated by phosphorescent butterflies, insects, reptiles, and snakes. These works, strictly speaking not still-lifes, have always appealed to collectors of highly finished Dutch cabinet pictures. Naturalists have a field day identifying their flora and fauna, and so do iconographers who give detailed commentaries on their content, which are generally related to the transience theme.

Van Schrieck and Withoos travelled to Italy in 1648. Withoos returned to the Netherlands in 1653 where he settled in his native Amersfoort; there he painted an imposing panoramic view of the town and was the teacher of Caspar van Wittel who popularizes veduta painting.

Withoos could never have seen Amersfoort as it appears in this colossal bird’s-eye view; it must have been composed in his studio. The walled city, seen from the northwest, occupies the centre of the composition. Within the walls the Lievevrouwekapel can be recognized by its tall tower, the ‘Lange Jan’, and further to the left is the Sint Joriskerk. The Utrechtsepoort on the right marks the beginning of the road to Utrecht while at the Koppelpoort on the left side the river Eem flows out of the city past the new neighbourhood on the harbour. In the foreground three horses haul a cart loaded with sacks across the landscape.

A characteristic feature of such bird’s-eye views is the representation of the town in profile, seen from a relatively low altitude. The reason for choosing this angle is obvious: bird’s-eye views were made by combining a number of different panoramic studies made from elevations such as mills, church towers or bastions. In the Netherlands such views were produced from at least the first half of the sixteenth century.

On 13 November 1671 the Burgomasters of Amersfoort proposed that the Town Council purchase the View of Amersfoort ‘ornament’ for the Town Hall ‘now and in the future.’ On 27 November it was decided to pay Withoos 200 silver ducats, a sum so large that it must have been for this big canvas. Judging from descriptions and floor plans of the old Amersfoort Town Hall, the painting was subsequently hung in the council chamber. It has remained in municipal possession to this day. Although the Town Council probably did not commission the canvas, such a large cityscape was most likely intended for a government building. Since Withoos himself had a seat on the Town Council in 1671, he could have executed the painting with the assurance that he would be able to sell it to the Municipality.

The picture shows a woodland still-life with a mouse, goldfinch and salamander. It is signed lower right: MWithoos (first two letters joined).