Egbert van Heemskerck the Younger was an English painter of Dutch origin working in London. His Anglo –Dutch satirical low-life tavern scenes and doctor’s interiors must be seen within that contemporary, early Hanoverian society and artistic world that produced the likes of William Hogarth. 

 

Egbert II was strongly influenced by his father, Egbert I, who also painted a few small scenes representing Rhetoricians singing at a window.

 

 

Anglo-Dutch painter

Haarlem or London, circa 1676 – 1744 England

 

Painter of humorous low-life tavern scenes, doctors at work and Quaker assemblies. 

 

Pupil of his father, Egbert I. Confusion still reigns between the artistic production of father and son, although the differences between both should be clear. There is also a painter of the third generation, whose first name was also Egbert.

 

Both Egbert I and II specialized in humoristic, funny genre scenes of the lower classes of society, often in comic, sometimes even vulgar situations. Often these scenes are located in taverns.

 

Most authors give wrong dates for these three different painters.

 

- Egbert I (Haarlem 1610 - 1680 London) was active in Haarlem from 1646 to 1663, and in the following years in various Dutch cities. Around 1670 he moved to England, where he lived in London and Oxford until his death in 1680. He was influenced by Adriaen Brouwer, Jan Miense Molenaer, Adriaen and Isaac van Ostade and by Jan Steen.

 

- Our painter, Egbert II (Haarlem or London, circa 1676 – 1744 

England) was a pupil of his father. Some sources mention that he was born circa 1676 in Harlem or in London, others go for an earlier date of birth, stating that he had been active in his hometown of Haarlem between 1660 and 1667, before moving to England (thus before his father). He was strongly influenced by his father. His favorite subjects were tavern scenes, doctors and Quaker assemblies. 

 

- Egbert III is documented as a painter from around 1700 until his death in 1744. He had studied painting under his father. He was also active in England. His style is quite soft and already very typical of the 18th century.

 

 

Because these small, humoristic, Rhetorician trompe l’oeil scenes are rare and sought-after.