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<title>Hercules Seghers</title>

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</style><table class="infobox biography vcard"><tbody><tr><th colspan="2" class="infobox-above" style="font-size:125%;"><div class="fn">Hercules Seghers</div></th></tr><tr><td colspan="2" class="infobox-image"><span typeof="mw:File"></span><div class="infobox-caption">Hercules Seghers, <i>Town with four towers</i>, c. 1631; etching & drypoint. <a href="Cincinnati_Art_Museum" title="Cincinnati Art Museum">Cincinnati Art Museum</a>. A typically unusual etching: printed in green on coloured cotton, and worked over with grey and black washes.</div></td></tr><tr><th scope="row" class="infobox-label">Born</th><td class="infobox-data"><div style="display:inline" class="nickname">Hercules Pieterszoon Seghers</div><br>c. 1589<br><div style="display:inline" class="birthplace"><a href="Haarlem" title="Haarlem">Haarlem</a></div></td></tr><tr><th scope="row" class="infobox-label">Died</th><td class="infobox-data">c. 1638</td></tr><tr><th scope="row" class="infobox-label">Nationality</th><td class="infobox-data category"><a href="Dutch_People" class="mw-redirect" title="Dutch People">Dutch</a></td></tr><tr><th scope="row" class="infobox-label">Known for</th><td class="infobox-data"><a href="Painting" title="Painting">Painting</a>, <a href="Printmaking" title="Printmaking">Printmaking</a>, <a href="Landscape" title="Landscape">Landscape</a> art</td></tr><tr><th scope="row" class="infobox-label">Movement</th><td class="infobox-data category"><a href="Dutch_Golden_Age" title="Dutch Golden Age">Dutch Golden Age</a></td></tr></tbody></table>

<p><b>Hercules Pieterszoon Seghers</b> or <b>Segers</b> (<abbr title="circa">c.</abbr> 1589 – <abbr title="circa">c.</abbr> 1638) was a Dutch <a href="Painting" title="Painting">painter</a> and <a href="Printmaker" class="mw-redirect" title="Printmaker">printmaker</a> of the <a href="Dutch_Golden_Age" title="Dutch Golden Age">Dutch Golden Age</a>.<sup id="cite_ref-MacLaren_1-0" class="reference"><a href="#cite_note-MacLaren-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> He has been called "the most inspired, experimental and original landscapist" of his period and an even more innovative printmaker.<sup id="cite_ref-2" class="reference"><a href="#cite_note-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup>

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<p>Hercules was born in <a href="Haarlem" title="Haarlem">Haarlem</a>, the son of Cathalina Hercules and Pieter Seghers,<sup id="cite_ref-rhg_4-0" class="reference"><a href="#cite_note-rhg-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> a <a href="Mennonite" class="mw-redirect" title="Mennonite">Mennonite</a> cloth merchant, originally from Flanders, who moved to <a href="Amsterdam" title="Amsterdam">Amsterdam</a> in 1596. There Hercules was apprenticed to the leading Flemish landscapist of the day, <a href="Gillis_van_Coninxloo" title="Gillis van Coninxloo">Gillis van Coninxloo</a>, but his apprenticeship was presumably cut short by Coninxloo's death in 1606. Seghers and his father bought a number of his works at the auction of the studio contents, as <a href="Pieter_Lastman" title="Pieter Lastman">Pieter Lastman</a> did. Seghers' father died in 1612, after which he returned to Haarlem, joining the <a href="Haarlem_Guild_of_St._Luke" title="Haarlem Guild of St. Luke">Haarlem Guild of St. Luke</a>.

</p><p>He returned to Amsterdam in 1614 to obtain custody of an illegitimate daughter, and the following year married Anneken van der Brugghen from Antwerp, who was sixteen years older than he was. In 1620 he bought a large house in the <a href="Jordaan" title="Jordaan">Jordaan</a> on the <a href="Lindengracht" title="Lindengracht">Lindengracht</a> for about 4,000 guilders, but by the late 1620s he was in debt, and in 1631 had to sell it. From his studio at the top of the house, which was pulled down in 1912, he had a view on the recently finished <a href="Noorderkerk" title="Noorderkerk">Noorderkerk</a>, which is on one of his etchings.<sup id="cite_ref-5" class="reference"><a href="#cite_note-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup>

</p><p>In the same year he moved to <a href="Utrecht_(city)" class="mw-redirect" title="Utrecht (city)">Utrecht</a> and started to sell art. In 1633 he moved to the Hague. He appears to have died by 1638, when a Cornelia de Witte is mentioned as widow of a "Hercules Pieterz". Like much of the detailed documentation of Segher's life, this link depends on the assumed rarity of his first name. Some later sources said that Seghers took to drink towards the end of his life and died after falling down the stairs.<sup id="cite_ref-6" class="reference"><a href="#cite_note-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup>

</p><p>His posthumous reputation was boosted by the <i>Inleyding tot de hooge schoole der schilderkonst</i> (<i>Introduction to the High School of Painting</i>) of <a href="Samuel_van_Hoogstraten" class="mw-redirect" title="Samuel van Hoogstraten">Samuel van Hoogstraten</a>, which presented him rather as a Romantic genius <i>avant la lettre</i>, lonely, poor and misunderstood, based mostly on his etchings. Hoogstraeten's description of Segher's life is included in the chapter "How the Artist Should Behave in the Face of Adverse Fortune", wherein he depicts Seghers as an idiosyncratic talent, hounded by misfortune and economic instability.<sup id="cite_ref-rhg_4-1" class="reference"><a href="#cite_note-rhg-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup>

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<div class="mw-heading mw-heading2"><h2 id="Prints">Prints</h2></div>

<p>He is mainly known for his highly innovative <a href="Etching" title="Etching">etchings</a>, mostly of landscapes, which were often printed on coloured paper or cloth, and with coloured ink, and hand-coloured and often hand-cropped to different sizes. He also made use of <a href="Drypoint" title="Drypoint">drypoint</a> and a form of <a href="Aquatint" title="Aquatint">aquatint</a> as well as other effects, such as running coarse cloth through the press with the print, for a mottled effect.

</p><p>Altogether only 183 known impressions survive from all his fifty-four plates and most are now in museums; the <a href="Rijksmuseum" title="Rijksmuseum">Rijksmuseum</a> <a href="Print_room" title="Print room">print room</a> has easily the best collection. <a href="Rembrandt" title="Rembrandt">Rembrandt</a> collected both paintings (he had eight) and prints by Seghers, and acquired one of his original plates, <i>Tobias and the Angel</i> (HB 1),<sup id="cite_ref-7" class="reference"><a href="#cite_note-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> which he reworked into his own <i>Flight into Egypt</i> (B 56), keeping much of the landscape. Rembrandt also reworked the Seghers painting <i>Mountain Landscape</i>, now in the <a href="Uffizi" title="Uffizi">Uffizi</a>, and his landscape style shows some influence from Seghers.

</p><p>Although the dating of his prints remains unclear, his <i>Town with four towers</i> (HB 29) is believed both to be one of the later prints and, by comparison with paintings, to date from around 1631. Given the small number of surviving impressions, it is unlikely that prints were a major source of income for him. His <i>Pile of books</i> (see Rijksmuseum link) is an unusual still-life subject for a 17th-century print.

</p><p>He seems to have invented the "sugar-bite" <a href="Aquatint" title="Aquatint">aquatint</a> technique, which was rediscovered in England over a century later by <a href="Alexander_Cozens" title="Alexander Cozens">Alexander Cozens</a> (it is also called <i>lift-ground etching</i>).

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<div class="mw-heading mw-heading2"><h2 id="Paintings">Paintings</h2></div>

<p>Hercules Seghers was probably best known to his contemporaries for his paintings of landscapes and still-life subjects such as <i><a href="The_River_Valley" title="The River Valley">The River Valley</a></i>; his paintings are also rare, with perhaps only fifteen surviving (one was destroyed in a fire in October 2007<sup id="cite_ref-9" class="reference"><a href="#cite_note-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup>). The <a href="Stadholder" class="mw-redirect" title="Stadholder">Stadholder</a>, <a href="Frederick_Henry%2C_Prince_of_Orange" title="Frederick Henry, Prince of Orange">Frederick Henry, Prince of Orange</a> bought landscapes in 1632. Many of his painted landscapes are fantastic mountainous compositions, whereas in his prints it is often the technical approach rather than the subject which is extreme.

</p><p>Seghers painted landscapes tend to show a wide horizontal view, with emphasis on earth rather than sky; two in the <a href="Gem%C3%A4ldegalerie%2C_Berlin" title="Gemäldegalerie, Berlin">Gemäldegalerie, Berlin</a> had strips of sky added at the top later in the century to meet a changed taste. Apart from Coninxloo, Seghers drew from the Flemish landscape tradition, perhaps especially <a href="Joos_de_Momper" title="Joos de Momper">Joos de Momper</a> and <a href="Roelandt_Savery" class="mw-redirect" title="Roelandt Savery">Roelandt Savery</a>, but also the "fantastic and visionary aspects of Mannerist" landscape painting.<sup id="cite_ref-10" class="reference"><a href="#cite_note-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> The 1680 inventory of the collection of the marine painter <a href="Jan_van_de_Cappelle" title="Jan van de Cappelle">Jan van de Cappelle</a>, who owned five paintings by Seghers, describes one as a view of <a href="Brussels" title="Brussels">Brussels</a>, which if correct would presumably mean Seghers traveled there, probably when young, when his style shows most Flemish influence (in so far as the chronology of his work is clear).<sup id="cite_ref-MacLaren_1-2" class="reference"><a href="#cite_note-MacLaren-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup>

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<div class="mw-heading mw-heading2"><h2 id="Gallery">Gallery</h2></div>

<div class="gallerytext">Seghers, <i>Woodland Path</i>, c. 1618-20; canvas on panel </div>

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<div class="gallerytext">Seghers, <i>Landscape with overhanging fir</i>, c. 1615-30; etching on paper, hand-coloured</div>

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<div class="gallerytext">Seghers, <i>Landscape with overhanging fir</i>, c. 1615-30; etching and colour on linen</div>

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<div class="gallerytext">Seghers, <i>View of <a href="Brussels" title="Brussels">Brussels</a> from the North-East</i>, c. 1625; oil on panel</div>

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<div class="gallerytext">Seghers, <a href="The_River_Valley" title="The River Valley"><i>River Valley</i></a>, c. 1626-30; oil on panel</div>

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<div class="gallerytext">Seghers, <i>The two Trees</i>, c. 1620-30; etching in brown ink</div>

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<div class="gallerytext">Seghers, <i>View of the <a href="Noorderkerk" title="Noorderkerk">Noorderkerk</a></i> (church in Amsterdam), c. 1622-30; etching on linen</div>

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<div class="gallerytext">Seghers, <i>Landscape with City on a River</i>, c. 1627-29; oil-painting on oak panel</div>

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<div class="gallerytext">Seghers, <i>Ruins of a large church</i>, c. 1629-38; print</div>

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<div class="gallerytext">Seghers & (thereafter) <a href="Rembrandt" title="Rembrandt">Rembrandt</a>, <i>Rest on the Flight into Egypt</i>, c. 1653; etching, drypoint and burin</div>

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<div class="gallerytext">Seghers, <i>The Landscape with the white rock</i>, c. 1590-1640; oil-painting on canvas; Casa Museu Eva Klabin collection</div>

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<div class="mw-heading mw-heading2"><h2 id="Notes">Notes</h2></div>

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<li id="cite_note-MacLaren-1"><span class="mw-cite-backlink">^ <a href="#cite_ref-MacLaren_1-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-MacLaren_1-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-MacLaren_1-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text"> Segers is in fact the more common form in contemporary documents, and was used by the painter himself (modern use is about equally divided between the two): Neil MacLaren, <i>The Dutch School, 1600–1800, Volume I</i>, National Gallery Catalogues, p. 418-20, 1991, National Gallery, London, <style data-mw-deduplicate="TemplateStyles:r1238218222">

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</style><a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>0-947645-99-3</bdi></span>

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<li id="cite_note-2"><span class="mw-cite-backlink"><b><a href="#cite_ref-2">^</a></b></span> <span class="reference-text">Slive, 183</span>

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<li id="cite_note-3"><span class="mw-cite-backlink"><b><a href="#cite_ref-3">^</a></b></span> <span class="reference-text">The attribution is contested by many. See other references for the fire in Amersfoort.</span>

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<li id="cite_note-rhg-4"><span class="mw-cite-backlink">^ <a href="#cite_ref-rhg_4-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-rhg_4-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><cite id="CITEREFGetscher1980" class="citation journal cs1">Getscher, Robert H. (May 1980). <span class="id-lock-subscription" title="Paid subscription required"><a rel="nofollow" class="external text" href="https://dx.doi.org/10.1086/arlisnanews.8.3.27946322">"Hercules Seghers. Leo C. Collins. Hercules Segers. John Rowlands"</a></span>. <i>ARLIS/NA Newsletter</i>. <b>8</b> (3): <span class="nowrap">106–</span>106. <a href="Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1086%2Farlisnanews.8.3.27946322">10.1086/arlisnanews.8.3.27946322</a>. <a href="ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/issn/0090-3515">0090-3515</a>.</cite></span>

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<li id="cite_note-5"><span class="mw-cite-backlink"><b><a href="#cite_ref-5">^</a></b></span> <span class="reference-text">Kannegieter, Z.J. (1942) <i>Het huis van Hercules Segers op de Lindengracht te Amsterdam</i>. In: Historische studiën en schetsen, p. 24-25. The actual price of the house is not recorded, and is an estimate by Kannegieter, based on similar sales.</span>

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<li id="cite_note-6"><span class="mw-cite-backlink"><b><a href="#cite_ref-6">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="http://www.hoogsteder.com/publications/journals/journal-8/dubus">Hoogsteder & Hoogsteder, Mathieu Dubus, avant-gardist</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20110712215724/http://www.hoogsteder.com/publications/journals/journal-8/dubus">Archived</a> 2011-07-12 at the <a href="Wayback_Machine" title="Wayback Machine">Wayback Machine</a></span>

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<li id="cite_note-7"><span class="mw-cite-backlink"><b><a href="#cite_ref-7">^</a></b></span> <span class="reference-text">In fact a free copy by Seghers of the Goudt print of <a href="Adam_Elsheimer" title="Adam Elsheimer">Adam Elsheimer</a>'s "Large Tobias" painting, now lost. See Slive, 184</span>

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<li id="cite_note-8"><span class="mw-cite-backlink"><b><a href="#cite_ref-8">^</a></b></span> <span class="reference-text">R van Luttervelt, <i>Dutch Museums</i>, p.202, 1960, Thames & Hudson, London.</span>

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<li id="cite_note-9"><span class="mw-cite-backlink"><b><a href="#cite_ref-9">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="http://www.artinfo.com/news/story/25906/armando-museum-in-ruins-after-fire/">Armando Museum in Ruins After Fire</a></span>

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<li id="cite_note-10"><span class="mw-cite-backlink"><b><a href="#cite_ref-10">^</a></b></span> <span class="reference-text">Slive, 184–185</span>

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<div class="mw-heading mw-heading2"><h2 id="References">References</h2></div>

<ul><li>George S. Keyes in: K.L. Spangenberg (ed), <i>Six Centuries of Master Prints</i>, Cincinnati Art Museum, 1993, no.s 75 & 76, <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>0-931537-15-0</bdi></li>

<li><a href="Seymour_Slive" title="Seymour Slive">Slive, Seymour</a>, <i>Dutch Painting, 1600–1800</i>, Yale UP, 1995,<a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>0300074514</bdi></li></ul>

<div class="mw-heading mw-heading2"><h2 id="Further_reading">Further reading</h2></div>

<ul><li>E. Haverkamp Begemann, <i>Hercules Segers: The Complete Etchings</i>, 2013, Springer, <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>9401769826</bdi>, 9789401769822</li>

<li><cite class="citation book cs1"><i>Under the spell of Hercules Segers</i> (English ed.). Amsterdam: WBOOKS. 2016. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-94-625-8173-9</bdi>.</cite></li></ul>

<div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2></div>

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<ul><li><a rel="nofollow" class="external text" href="https://www.rijksmuseum.nl/nl/zoeken?q=Hercules%20Seghers&v=&s=&ii=0&p=1">images of many prints of Seghers in the Rijksmuseum, Amsterdam</a></li>

<li><a rel="nofollow" class="external text" href="http://www.art-drawing.ru/gallery/category/642-seghers-hercules">Hercules Seghers. Pictures</a> <a rel="nofollow" class="external text" href="http://www.art-drawing.ru/biographies/brief-biographies/1329-segers-herkyules">and Biography</a></li></ul>

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