A Mediterranean capriccio harbour scene

Jacobus Storck (Amsterdam 1641-1687)

A Mediterranean capriccio harbour scene, c. 1679

Oil on canvas

132 x 200.5cm (51 15/16 x 78 15/16in).

Private collection

Based on the similarity of palette, style and compositions between the works of Jacobus and his younger brother Abraham, it is thought that they shared a family studio. The careful characterisation of the figures and the detail of the costume in the present painting suggests that Abraham may have assisted with the staffage. This was not uncommon, as Abraham is also thought to have painted the figures in other marine landscapists' work.

The topographical details incorporated in many of the capricci by Jacobus and Abraham suggest that they must have travelled widely within the Netherlands, as well as to a number of German cities, along the Rhine and to Italy. The Italian influence is evident in the present painting, with the church of San Giovanni e Paolo and Colleoni monument in Venice providing the inspiration for the architecture in this coastal port.

A drawing by Abraham Storck, signed and dated 1676, showing the church, cupola and sculpture on the left of the present painting, is now the Prints and Drawings collection at the National Gallery of Scotland, Edinburgh.

Abraham Storck (or Sturckenburch) (bapt. 17 April 1644 in Amsterdam – buried 8 April 1708), was a Dutch painter, who enjoyed a reputation for his marine paintings, topographical views and Italianate harbour scenes. Storck was also an outstanding draughtsman

Circa 1666 Storck established his workshop producing naval, harbor scenes as well as landscape paintings and city scapes. In 1670 he traveled with his brother Jacob and worked in Germany. In 1694, at age 49, he married the widow Neeltje Pieters van Meyservelt. At the end of his life he lived on Kattenburg near the harbour.

Storck produced fantastical views of Mediterranean ports, which place merchant shipping amidst architectural ruins, depicted in the crystal-clear colours of Italian art of the period. This type of scene anticipated the popular 18th-century Italian capriccio. He depicted ships' rigging and technical details with considerable accuracy, which likely shows the influence of the van de Veldes. His Dutch harbour and river views often include recreational and ceremonial aspects of shipping. He paid particular attention to the display of pleasure yachts, ceremonial gatherings of ships, the passengers and bystanders.

Storck painted some winter scenes, which are inspired by the example of Jan Abrahamsz Beerstraaten and his son Anthonie Beerstraaten, a selfportrait, and some allegories. More on Abraham Storck

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