Johannes Vollevens I was a renowned Dutch portraitist who trained under Jan de Baen (1633-1702) and worked predominately in The Hague.

Born in Geertruidenberg, The Netherlands, Vollevens possessed inordinate ability as a child, particularly in charcoal drawing. He approached art with such fervour that his parents sent him to study with the eminent portrait and genre painter Caspar Netscher (1639-1684), followed by a spell with Nicolaes Maes (1634-1693) in Dordrecht.

Now furnished with the rudiments, his next period of tuition was a longer apprenticeship with the leading Dutch portraitist, Jan de Baen (1633-1702), in The Hague. Here, over a span of eight years, he worked closely with de Baen, becoming an invaluable assistant. Due to the master’s popularity, Vollevens was often tasked with producing copies of de Baen’s works while also painting the drapery in many of his originals.

It’s said that the young man’s vigorous spirit was much needed as de Baen was often overloaded with work. It was a relationship that benefited both parties; on one hand, de Baen could meet the demands of his patrons, while on the other, Vollevens was gaining vital experience.

In 1672, upon completing his apprenticeship, he was inundated with commissions and soon garnered the trust of esteemed dignitaries such as the Count and Countess of Nassau and the Prince of Courlant, who asked him to produce portraits of every officer in his regiment. With his career and security now established, orders continued to materialise - such as those for Colonel Perzival with his officers, the English ambassador Schelten, and for the Prince of Nassau. And following the death of Jan de Baen in 1702, he gained many of his master’s loyal patrons.

The word ‘Vollevens’ translates as ‘full of life’, which was the source of much punnery during his lifetime. But indeed, it was his zest and industriousness which set him apart from his peers and contributed to his distinguished reputation.

Compared to de Baen, Vollevens’ oeuvre is a touch less flattering, with each sitter portrayed closer to life. As such, his works possess greater diversity and less stylisation. For example, he describes Caspar Fagel (1634-1688) as distinguished and sensitive, whereas François Nicolaas Fagel (1655-1718) conveys pomp and ceremony. In both, there’s a sense of the individual - the spirit behind the facade.

His son, Johannes Vollevens II (1685-1759), was court painter to the Princess Dowager of Orange. 

He’s represented at the Rijksmuseum, the Fitzwilliam Museum at Cambridge University, and the Haags Historisch Museum in The Hague.

Public Collections

Rijksmuseum, The Fitzwilliam Museum at Cambridge University, Haags Historisch Museum in The Hague.

Timeline

1649

Born in Geertruidenberg, The Netherlands, to Isaak Vollevens and Willemina Vollevens (nee. Van Merijnen).

Trained under Nicolaes Maes (1634-1693).

-1672

Trained under Jan de Baen (1633-1702).

1675

Commissioned to paint portraits of the Count and Countess of Nassau, together with all the Officers of his Highness' Regiment, all life-size.

1680

Married Anna Catharina Vollevens (nee Geselle), the daughter of Daniel Geselle, a hopman.

1685

Commissioned to paint a group portrait of Colonel Perzival with his officers and Colonel La Nooy with his officers.

1686

Commissioned to paint a portrait of the English ambassador, Schelten with his wife and two sons, all life-size full-length.
The Prince of Nassau, Governor of Vrieflant and Groningen, life-size.

1728

Died in The Hague, The Netherlands.