Early Landscape Art Landscape art became a popular and highly developed form in Holland from the early 17th century. Working in oils in the open was not possible so scenes were usually sketched on site and painted back in the studio. Pen and watercolour afforded a more practical option and suited a topographic style. Landscapes did not become part of the British repertoire until the 18th century. It is not surprising therefore that the earliest British landscapes were by visiting Dutch artists. The Artists Lambert Doomer (1624-1700) Doomer was a student of Rembrandt but was generally thought to be a better draughtsman than painter. He is best known as an accurate landscape draughtsman, particularly for views of the Rhine and other topographical scenes he made during his various travels. He toured the Loire district in 1646 before coming to England in the same year. Willem Schellinks (c1627-c1678) Schellinks was a highly regarded artist noted for a range of styles. He visited England in 1662 as part of a four year tour of several countries. His series of English drawings are of a similar pen and wash style to Doomer, although often more panoramic. His scenes suggest a coastal journey from Dover to Bristol. Atlas Blaeu-Van der Hem The Island paintings are preserved as part of a remarkable 17th century atlas. It contains more than 2400 maps, prints, and drawings, distributed over 46 volumes. This collection forms a comprehensive exhibition of Dutch 17th century cartographic and topographic art and is retained today by the Austrian National Library in Vienna. The atlas was the lifelong work of Amsterdam lawyer Laurens van der Hem (1621-1678). He began collecting maps and drawings in the 1640s and eventually built a fund of information on everything from geography and navigation to architecture and folklore. It is a mystery why local historians have not discovered these important Island scenes until now. The atlas was researched by P H Hulton in the 1950s at which time the English scenes were reproduced in book form by the Walpole Society. |
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of the Isle of Wight A look at four mid 17th century pen and wash drawings which have only recently been revealed to Island historians. They are probably the first accurately recorded scenes of the Island and among the earliest recognizable landscapes of England The Needles Lambert Doomer 1646 
This is the first time Islanders have seen a contemporary image of the so called 'needle-like' rock which fell into the sea in 1764, and it clearly challenges the accepted folklore. There are engravings which show the rock as being tall and tapered but, like written references, these are all dated after the rock had fallen. It now seems unlikely this rock could have been the source of the Needles name Newport Lambert Doomer 1646 
St Thomas' Church and Carisbrooke Castle are the only recognizable features. There has been some debate as to the vantage point from which the scene is taken. One opinion is that it is from around Fairlee, in which case the waterway is the Medina and the mill by Sea Street. An alternative point is towards the west, either on Hunny Hill or overlooking it, placing the mill by Lukely Brook pond. This view would mean Doomer has moved Carisbrooke Castle eastward to fit Cowes Lambert Doomer 1646 
This is by far the earliest image of Cowes Castle and drawn in some detail. The fort was built as part of Henry VIII's defences and is now home to the Royal Yacht Squadron. The two ships at anchor appear to be Dutch, one of which presumably transported the artist Cowes from Southampton Water Willem Schellinks 1662 |
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Related links: 17th cent Cowes trading, shipbuilding and Robert Newland The Needles - Tall Rock or Tall Story ? |
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Whilst this only shows the Island in distant view, it is in some ways the most interesting of the four pictures. Reproduction here does not do justice to the detail contained in the drawing but East Cowes can be seen on the left with West Cowes in the centre. The fort on the right is Calshot Castle. The picture is composed from some height and is possibly an amalgamation of views manipulated to show the position of both forts. Schellinks' penchant for recording strategic points has led to suggestions he was concentrating on scenes of interest to Dutch military intelligence. One inscription item refers to East Cowes built by Benjamin Newland. Schellinks' diary records his visit to the Island in 1662 where he was entertained by Newland. It seems likely Newland had some trade with the Dutch merchant who was Schellinks' patron
Isle of Wight History Centre January 2003 |