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name
Cornelius Johnson, and when he left England he changed the form to Jonson. The usual form of his signature when the name is given in full is invariably, in all the pictures painted after 1643 which I have seen : ' Cornelius Jonson van Ceulen.' He appears never to have adopted the form of Janson, Jansen, or Janssens. But so long as auctioneers are born with an ingrained conviction that a foreign-looking name gives greater value to a picture than an English name, so long may we expect to find Cornelius Johnson or Jonson masquerading in catalogues as Cornelius Janssens."
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542:(a poisonous yellow pigment) and painted his portrait. In addition to describing his usage of orpiment to de Mayerne, Johnson also told Daniel King his technique for draperies. For linen draperies he used "white and oker broken with bone black". For blue draperies, he first laid in "all the background folds and shadows ... neatly and perfectly finished" with "indico ground in drying oiland mixt wth smalt and white". When this had dried, he painted over it a glaze of ultramarine and "fair white".
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518:. His last Dutch portraits show a different style reflecting contemporary portraiture there. However he also influenced other artists – both lesser lights as well as more accomplished artists such as van Dyck. Following the Netherlandish tradition, he was particularly accurate and detailed in depiction of clothing. As a result, his portraits are especially useful to costume historians.
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196:. His style varied considerably over his career, and he was able to assimilate new influences into his own style without any discordant effect. He was particularly accurate and detailed in his depiction of clothing. He was one of the few artists in England at this time who consistently signed and dated their work.
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stage. These families were the
Boothby family of London and Chingford, the Corbett family of Shropshire, the Leveson family of Shropshire and Staffordshire, the Temple family of Burton Dassett and Stowe, and the Lenthall family of Burford and Besselsleigh. These families were connected to each other by marriage.
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He was one of the few artists in
England at this time who consistently signed and dated their work, except for his later full-lengths, which his clients may have hoped would be mistaken for more expensive Van Dycks. He may have been successful in this, as some full-length portraits attributed to van
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Johnson's studio in the 1620s was in St Anne's, Blackfriars, London. The size of
Johnson’s studio is not known, but surviving portraits such as the portrait erroneously inscribed Countess of Arundel and that of Sir Alexander Temple (both below) help reconstruct the painting process. It is likely that
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as "flat wooden and inanimate". Within a year, he has made "an astonishing advance" and his modelling becomes full and "his temper established". His earliest three-quarter length work is a pair of portraits of Thomas
Boothby and his wife painted in 1619 and sold by the Weiss Gallery in 1988. Another
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The large number of variants of his name has led to some controversy over the correct form. Johnson himself must take some responsibility for this since he frequently changed his signature. Hearn has argued that in his later years in the
Netherlands, he added the words "van Ceulen" ("from Cologne")
624:
Finberg says "I think I may take this opportunity to protest once again against the prevalent habit of calling this artist
Janssens. In spite of Walpole's unfortunate remark that this is the correct form of the name, there is no excuse for using it. While in England the artist invariably spelt his
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There are hundreds of portraits of the emerging new gentry by
Johnson, including Lady Rose MacDonnell of Antrim. "Johnson's art was best suited to the relative intimacy of the bust length portrait in which, with a certain detachment, he captured the reticence of the English landed gentry and minor
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His patrons came from the gentry, but were not from the highest levels in society. His sitters were Dutch immigrants, gentlemen and courtiers. During the first few years of his career, a network of patronage by five families enabled
Johnson to establish his reputation as a painter on the national
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Johnson uses a number of techniques that taken together uniquely identify his studio during his early career. These include the presence of both wet-in-wet and discreet layering; calculated variations in brushwork and the use of high quality (and expensive) pigments that survived aging well.
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From the second half of the seventeenth century onwards, there were frequent art auctions in London and later in provincial cities. Johnson's work was regularly sold at these auctions – for example lot 150 at a sale of paintings at Exeter
Exchange in the Strand, 3 April 1690.
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188:
Johnson painted many portraits of emerging new English gentry. His early portraits were panel paintings with "fictive" oval frames. His works can be found in major collections in the UK and overseas as well as in private collections in stately homes in Britain.
557:, Honorary Professor at UCL, curated a display of Johnson's work which was held at the National Portrait Gallery from April to September 2015. In July, 2016, the first large scale exhibition devoted solely to his work was held at the Weiss Gallery in London.
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He "was masterful in bringing the unique characteristics of his pigments to the most dazzling effect. Johnson’s use of azurite blue is a primary example of how he utilized the character of each pigment to yield distinctive textures and eye-catching details."
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effect was one of Johnson' favourite devices in the early part of his career. "His figures are usually placed in front of dark, undefined backgrounds with focus on their faces and elaborate costumes that denote their social standing." He also painted some
286:. His arms were three gold parrots on a gold background, and had a crest of a silver Catherine wheel with two parrot wings behind it. Apparently winged crests are common in German heraldry which may show the arms previously used by the family.
301:, joining the Guild of St. Luke there. He was given parliamentary permission to travel " ... and to cary with him such pictures and colours, bedding, household stuff, pewter, and brass as belongs to himself". Between 1646 and 1652 he lived in
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Johnson did not paint the complete portraits himself. The wet-over-dry paint layering of the costumes (see 'Technique' below) and the fictive ovals allowed contributions from others in the studio, as did the demand for additional versions.
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His style was conservative although it varied considerably over his career, and he was able to assimilate new influences into his own style without any discordant effect. He took from, in turn, Mytens, van Dyck, and
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entry for Johnson notes that "in 1638 Sir Thomas Pelham of Halland House, Sussex, paid £4 for his portrait by Johnson" (referencing an account book among the Pelham family papers, BL, Add. MS 33145, fol. 107).
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Johnson' first dated work is 1617, and may be of a Dutch subject; 1619 marks the beginning of his English portraits, which were initially heads only, although he later painted full-length and group portraits.
441:. However, he has also been described as "a good painter, but unable to compete with the flair and superlative skills of van Dyck". Compared with van Dyck, Johnson's portraits were "lower key but exquisite".
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The identity of many of his sitters has been lost. Despite having only received a few commissions from the crown, in 1632, Johnson was appointed as "his Majesty's servant in the quality of Picture drawer" by
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For painting a portrait, Johnson liked to charge £5 compared with a more typical figure of 10s – 20s. However, this was not as expensive as better known artists such as Van Dyck or Peter Lely. Karen Hearn's
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to his signature as a marketing technique to emphasize his foreign origins. He had previously added "Londines" (London) to his signature, but stopped using this form following the outbreak of the first
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He has been described as "one of the most gifted and prolific portrait painters practising in England during the 1620s and 1630s". Lionel Cust describes him as being "more accomplished" than
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much used by the Netherlandish community in London. He was the son of Johanna le Grand and Cornelius Johnson. He may have been trained in the Netherlands, possibly under
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three-quarter length portrait (of Lord Keeper Coventry) is dated 1623, and shows a certain lack of skill in dealing with the body, which is overcome in later works.
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Limners and Picturemakers – New light on the lives of miniaturists and large-scale portrait-painters working in London in the sixteenth and seventeenth centuries
1029:
Limners and Picturemakers – New light on the lives of miniaturists and large-scale portrait-painters working in London in the sixteenth and seventeenth centuries
608:. This was painted around 1610 and has a long association with Shakespeare. It was altered to show a higher forehead. It is no longer believed to be by Johnson.
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Dyck's workshop may well be by him. In the early years, his standard way of signing portraits was the phrase "fecit C J", although the 1619 portrait entitled
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on 16 July 1622 at the Dutch church in London. Their son James (who presumably died young) was baptised on 30 September 1623 at St Anne's Church. Another son
1332:“A Real Master Among Hundreds” : The Secrets and Techniques of Seventeenth Century Portraiture in Britain by Jessica David, Richard Hark and Edward Town
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He had returned to England by 1619 when he was a witness at the baptism of his nephew, Theodore Russell – Johnson' sister was married to Nicholas Russell of
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After his move to the Netherlands, he continued to produce portraits of English clients – both exiled Royalists, and clients still living in England.
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has a 1623/4 portrait of Clement Pargeter, William Peacock and Thomas Babb that may be by Johnson. If so, it is the earliest group portrait by him.
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with "fictive" oval frames – they appear to have a wooden or marble oval surround, but this is actually painted on to the panel. This
236:. He was certainly influenced by other artists from the Netherlands, and his early works follow the design and mood of Dutch painters.
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in the mid-1630s, living with Sir Arnold Braems, a Flemish merchant, and continued to live in England until after the outbreak of the
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568:, many UK provincial galleries and in private collections in stately homes in Britain. Outside the UK, his work can be found in the
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literally "five broad pieces of gold" – a broad piece was a hammered piece of gold worth twenty shillings (£1). Horace Walpole,
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In his portraits, the sitters head is often unexpectedly low. The eyes have enlarged, rounded irises and deep curved upper lids.
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1862:
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Karen Hearn, 'Johnson, Cornelius (bap. 1593, d. 1661)', Oxford Dictionary of National Biography, Oxford University Press, 2004
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212:, later Lady Lister (1620) – Google Art Project. This is one of a number of portraits of the Temple family painted by Johnson
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Johnson was born to Dutch or Flemish parents in London – his father had been a religious refugee from
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Burlington Magazine review of volume 10 of the Walpole Society Vol. 42, No. 241 (Apr., 1923), p. 203
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towards the end of the seventeenth century. A copy of the engraving was among the prints owned by
1787:, "Painting in Britain, 1530–1790", 4th ed., 1978, Penguin Books (now Yale History of Art series)
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His work can be found in the National Gallery, the Tate Gallery, The National Portrait Gallery,
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quoted from Hearn, Karen, 2003, "The English Career of Cornelius Johnson" in Roding, Juliette
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475:(below) is signed Cornelius Johnson fecit and many later works also have a full signature.
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aristocracy". One of his earliest surviving portraits is of Susanna Temple, grandmother of
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His early works (for example the 1620 portrait of Sir Alexander Temple) were described by
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Hearn, Karen (2018). "The 'small oil colour pictures' of Cornelius Johnson (1593-1661)".
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Johnson wished to be regarded as an English gentleman, registering his pedigree with the
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Hearn, Karen (2016). "The National & Professional Identities of Cornelius Johnson".
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Hearn, Karen, (2003). "The English Career of Cornelius Johnson" in Roding, Juliette
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Hearn, Karen, 2003, "The English Career of Cornelius Johnson" in Roding, Juliette
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He was an accomplished portrait painter, but lacked the flair of a master such as
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parentage. He was active in England, from at least 1618 to 1643, when he moved to
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Town, Edward; David, Jessica (2016). "The Early Career of Cornelius Johnson".
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Town, Edward; David, Jessica (2016). "The Early Career of Cornelius Johnson".
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1200:
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Finberg, Alexander J (1917). "Two Anonymous Portraits by Cornelius Johnson".
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297:, but in October 1643, apparently at the insistence of his wife, he moved to
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Jonson [Janson; Johnson] van Ceulen, Cornelis [Cornelius], I
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Prices are discussed by Ellis Waterhouse in Painting in Britain: 1530–1790
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1806:. Vol. 15 (11th ed.). Cambridge University Press. p. 154.
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Exhibitions, sales and ownership of his work in important collections
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Numbers 123 and 124 in Weiss Gallery's 25th Anniversary publication
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lists over 50 variants, an exceptional number even for this period.
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A Chronological List of Portraits by Cornelius Johnson, Or Jonson
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A CHRONOLOGICAL LIST OF PORTRAITS BY CORNELIUS JOHNSON, OR JONSON
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Inscribed Countess of Arundel by Cornelius Johnson, 1619 at the
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1501:(paperback ed.). Manchester University Press. p. 56.
1279:
Catalogue of the Pepys Library at Magdalene College, Cambridge
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de Lisle, Leanda (2016). "Cornelius Johnson, Court Painter".
985:
Dynasties: Painting in Tudor and Jacobean England 1530–1630.
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who also became a painter, was baptised on 15 August 1634.
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and so avoided the monopoly in the City of members of the
1771:
Portrait Miniatures, Artists, Functions & Collections
570:
Huntington Library, Art Collections and Botanical Gardens
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Erroneously inscribed Ld Gust Hamilton, but known to be
1249:(third ed.). Oxford University Press. p. 365.
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William III, Prince of Orange, as a child, 1657 at the
348:, 1641. Capel was a leading Royalist, executed in 1649.
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5 August 1661) was an English painter of portraits of
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Portraits, Painters and Publics in Provincial England
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Some Old Portraits: A Book About Art and Human Beings
1773:. The Tansey Miniatures Foundation. pp. 179–88.
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754:Two Young Girls on a Terrace with Two Hounds, 1648
1529:In Fine Style:The Art of Tudor and Stuart Fashions
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1062:, National Portrait Gallery Technical Bulletin 20
376:His royal portraits include Charles I as well as
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384:, painted as children, both of which are in the
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1762:Cornelius Johnson, Painter to King and Country
1746:Dutch and Flemish Artists in Britain 1550–1800
1676:Cornelius Johnson, Painter to King and Country
1591:Dutch and Flemish Artists in Britain 1550–1800
1579:Christies Auction Catalogue; lot notes, lot 45
1544:Cornelius Johnson, Painter to King and Country
1383:Cornelius Johnson, Painter to King and Country
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1122:Dutch and Flemish Artists in Britain 1550–1800
564:, the Scottish National Portrait Gallery, the
361:). This portrait was subsequently engraved by
34:. For Cornelius Jansen (Bishop of Ypres), see
220:, and his paternal grandfather had come from
1732:Two Anonymous Portraits by Cornelius Johnson
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676:Unknown Woman (Elena Lee, Lady Sussex), 1630
1135:Dictionary of National Biography, 1885–1900
1818:163 artworks by or after Cornelius Johnson
1407:Cust, Lionel (1913). "MARCUS GHEERAERTS".
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1396:facing the past, p.18 Weiss Gallery, 2012
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920:10.1093/gao/9781884446054.article.T045137
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1704:. Paul Holberton publishing. p. 68.
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508:The London Painters and Stainers company
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1568:Oxford Dictionary of National Biography
1531:. Royal Collections Trust. p. 143.
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1060:The Painter's Trade in the 17th Century
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146:[kɔrˈneːlɪˈɕɑnsənsfɑŋˈkøːlə(n)]
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1306:. Oxford University press. p. 14.
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854:The Getty Union List of Artist's Names
591:exhibition of Tudor and Stuart Fashion
259:; it was within the boundaries of the
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1888:English emigrants to the Netherlands
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1385:. The Weiss Gallery. pp. 18–35.
1207:. Yale University Press. p. 58.
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957:. Yale University Press. p. 54.
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334:Elizabeth Campion (1614-1673), 1631.
177:. Between 1646 and 1652 he lived in
30:For Cornelius Jansen the Elder, see
1089:Walpole Society, volume 47, page 89
1031:Walpole Society, volume 47, page 87
700:Portrait of a Lady in Blue, c. 1639
688:Queen Henrietta Maria (before 1639)
392:on a portrait of Charles I's wife,
24:
1778:
1737:Finberg, Alexande Joseph, (1922).
1718:(Walpole Society, Volume 10, 1922)
1604:The art world in Britain 1660–1735
600:Johnson's name is attached to the
452:, also later a prominent Royalist.
450:Edward Hyde, 1st Earl of Clarendon
386:National Portrait Gallery (London)
32:Cornelius Jansen (Bishop of Ghent)
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1883:English people of Flemish descent
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1223:The Sale of the Late King's Goods
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1546:. The Weiss Gallery. p. 24.
1189:Anecdotes of painters in England
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739:The Hague Magistrates, 1647, at
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1878:English people of Dutch descent
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1678:. The Weiss Gallery. p. 8.
1646:"Cornelius Johnson (1593-1661)"
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478:Johnson's early portraits were
465:Princeton University Art Museum
271:. He married Elizabeth Beke of
1516:. Tate Publishing. p. 13.
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604:of William Shakespeare in the
448:A typical early work of 1626,
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1863:17th-century English painters
1439:The A to Z of Renaissance Art
1360:10.1080/14629712.2016.1245397
908:Ekkart, Rudolf E. O. (2003).
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369:which subsequently passed to
355:Sarah, Duchess of Marlborough
1756:. Paul Holberton publishing.
1485:. Paul Holberton publishing.
1013:. The Tate Gallery. p.
972:. Paul Holberton publishing.
580:. and Leufsta Manor, Sweden.
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371:Magdalene College, Cambridge
234:Michiel Jansz. van Mierevelt
138:Cornelis Janssens van Ceulen
18:Cornelis Janssens van Ceulen
7:
1868:17th-century Dutch painters
1557:Yale Center for British Art
987:(New York: Rizzoli, 1995.
789:Cornelius Jonson van Ceulen
768:Yale Center for British Art
663:Yale Center for British Art
644:Yale Center for British Art
578:Yale Center for British Art
27:English painter (1593–1661)
10:
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1797:"Janssen, Cornelius"
1764:. The Weiss Gallery. 2016.
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1512:Hearn, Karen, ed. (2009).
1437:Zirpolo, Lilian H (2008).
1317:Hearn, Karen, ed. (2009).
1245:Chivers, Ian, ed. (2004).
1147:Tarkington, Booth (1939).
1041:Hearn, Karen, ed. (2009).
793:Cornelis Jansz. van Ceulen
606:Folger Shakespeare Library
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1873:English portrait painters
1848:Dutch Golden Age painters
1622:Biography on UCL web site
534:Johnson was consulted by
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277:Cornelius Johnson, junior
224:. He was baptised at the
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1858:British Baroque painters
1302:Tittler, Robert (2012).
1247:Oxford Dictionary of Art
795:and many other variants.
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712:Sir William Waller, 1643
574:Museum Catharijneconvent
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1803:Encyclopædia Britannica
1602:See auction records at
1527:Reynolds, Anna (2013).
1497:Titler, Robert (2013).
1005:Millar, Oliver (1972).
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566:Dulwich Picture Gallery
473:the Countess of Arundel
388:. He collaborated with
309:, where he was buried.
1633:Weiss Gallery web site
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65:before 14 October 1593
1752:Hearn, Karen (2015).
1730:Finberg, AJ, (1918).
1714:Alexander J Finberg,
1700:Hearn, Karen (2015).
1689:The Janssens Portrait
1593:, Primavera, page 124
1481:Hearn, Karen (2015).
1426:Discovering 'T Leigh'
1124:, Primavera, page 116
968:Hearn, Karen (2015).
914:. Oxford Art Online.
874:"J Paul Getty Museum"
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394:Queen Henrietta Maria
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305:, before settling in
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181:, before settling in
1499:The face of the city
1009:The Age of Charles I
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659:Sir Alexander Temple
1853:Dutch male painters
1514:Van Dyck in Britain
1348:The Court Historian
1319:Van Dyck in Britain
1291:accessed 3 Dec 2008
1265:9 February 2013 at
1225:. Pan. p. 160.
1043:Van Dyck in Britain
536:Théodore de Mayerne
498:C. H. Collins Baker
491:portrait miniatures
461:Portrait of a Woman
249:Blackfriars, London
243:. He was active in
1609:6 May 2012 at the
1277:Eric Chamberlain,
880:on 12 January 2014
825:[ˈjɑnsəns]
586:Portrait of a Lady
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153:14 October 1593 –
1754:Cornelius Johnson
1741:, Walpole Society
1702:Cornelius Johnson
1643:Haldane Fine Art
1483:Cornelius Johnson
1058:Kirby, Jo (1999)
970:Cornelius Johnson
929:978-1-884446-05-4
741:the Old City Hall
390:Gerard Houckgeest
295:English Civil War
289:Johnson moved to
185:, where he died.
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602:Johnson portrait
589:was part of the
576:in Utrecht, the
562:Royal Collection
253:Anthony van Dyck
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43:
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36:Cornelius Jansen
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1779:Further reading
1760:
1734:Walpole Society
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1655:
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1652:on 8 March 2014
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834:, respectively.
816:are pronounced
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725:Thomas Cletcher
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614:
595:Queen's Gallery
548:
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480:panel paintings
435:
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284:College of Arms
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1826:
1825:
1813:
1812:External links
1810:
1809:
1808:
1794:, ed. (1911).
1792:Chisholm, Hugh
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1777:
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629:Some portraits
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547:
544:
523:
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516:William Dobson
434:
431:
413:
410:
404:
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346:and his Family
314:
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261:City of London
210:Susanna Temple
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173:to escape the
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127:Elizabeth Beke
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116:Known for
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81:(aged 67)
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1267:archive.today
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1260:Weiss Gallery
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1151:. p. 46.
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1133:Cust, Lionel
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1098:
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1075:Lane Fine Art
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993:0-8478-1940-X
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983:Karen Hearn,
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77:5 August 1661
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19:
1820: at the
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1761:
1753:
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1710:
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1695:
1684:
1675:
1654:. Retrieved
1650:the original
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1008:
1000:
984:
979:
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954:
945:
933:. Retrieved
910:
903:
894:
882:. Retrieved
878:the original
849:
813:
809:
805:
800:
792:
788:
783:
623:
615:
599:
584:
559:
553:
549:
538:on handling
533:
529:
525:
512:
506:
503:
495:
485:trompe-l'œil
483:
477:
472:
469:
460:
436:
419:
415:
406:
398:
375:
367:Samuel Pepys
363:Robert White
351:
342:
320:
316:
288:
281:
263:, but was a
257:Peter Oliver
238:
226:Dutch Church
215:
208:Portrait of
191:
187:
137:
133:
132:
79:(1661-08-05)
40:
1843:1661 deaths
1838:1593 births
1137:, volume 29
884:23 February
555:Karen Hearn
493:on copper.
463:, 1655-56,
344:Baron Capel
313:Portraiture
200:Family life
171:Netherlands
119:Portraiture
96:Nationality
1832:Categories
1085:Edmond, M
1027:Edmond, M
935:8 November
842:References
439:Gheeraerts
378:Charles II
299:Middelburg
291:Canterbury
273:Colchester
167:Middelburg
1368:218755524
621:in 1652.
522:Technique
423:Charles I
412:Patronage
303:Amsterdam
251:, as did
179:Amsterdam
1607:Archived
1263:Archived
1221:(2007).
1203:(2012).
953:(2012).
810:Janssens
806:Cornelis
540:orpiment
382:James II
194:Van Dyck
1725:Sources
593:at the
307:Utrecht
265:liberty
245:England
222:Cologne
218:Antwerp
183:Utrecht
169:in the
163:Flemish
108:Flemish
102:English
85:Utrecht
1822:Art UK
1656:2 June
1366:
991:
926:
572:, the
403:Studio
241:Bruges
142:Dutch:
136:(born
124:Spouse
1364:S2CID
974:p. 12
787:Also
775:Notes
433:Style
159:Dutch
151:bapt.
105:Dutch
1824:site
1658:2014
1487:p. 8
989:ISBN
937:2021
924:ISBN
886:2013
828:and
812:and
612:Name
583:His
380:and
359:Tate
324:ODNB
255:and
155:bur.
74:Died
62:Born
1356:doi
916:doi
814:van
228:at
161:or
1834::
1800:.
1666:^
1411:.
1362:.
1352:21
1350:.
1338:^
1169:^
1157:^
1106:.
1094:^
1067:^
1051:^
1015:14
922:.
861:^
822:,
808:,
791:,
597:.
396:.
373:.
149:;
140:,
87:,
1660:.
1415:.
1413:3
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1358::
1110:.
1108:6
1017:.
995:)
939:.
918::
888:.
357:(
38:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
