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Venus spanking Cupid
Constantijn Netscher, 1682
- Artwork typedrawing
- Object numberRP-T-1937-18
- Dimensionsheight 118 mm (lower border irregular) x width 89 mm
- Physical characteristicspen and brown ink, with brown wash, over graphite
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Identification
Title(s)
Venus spanking Cupid
Object type
Object number
RP-T-1937-18
Part of catalogue
Creation
Creation
- draughtsman: Constantijn Netscher, The Hague
- print maker: after Odoardo Fialetti
Dating
1682
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Material and technique
Physical description
pen and brown ink, with brown wash, over graphite
Dimensions
height 118 mm (lower border irregular) x width 89 mm
This work is about
Subject
Acquisition and rights
Acquisition
purchase 1937
Copyright
Provenance
…; collection Christiaan Kramm (1797-1875), Utrecht (L. 581); his sale, Amsterdam (G.T. Bom), 30 November 1937, no. 144, with inv. no. RP-T-1937-19, fl. 20 for both, to the dealer P. Brandt for the museum (L. 2228)
Remarks
Please note that this provenance was formulated with a special focus on provenance research for the years 1933-45 and could therefore be incomplete. There may be more (mostly earlier) provenance information known in the museum. In case this item has an uncertain or incomplete provenance for the years 1933-45, the Rijksmuseum welcomes information and assistance in the investigation and clarification of the provenance of all works during that era.
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Constantijn Netscher
Venus spanking Amor
The Hague, 1682
Inscriptions
inscribed lower centre, in brown ink: probably by Caspar Netscher, Cons Netscher del. / 1683, and by the artist, AEtatis 13.
Technical notes
watermark: none
Provenance
…; collection Christiaan Kramm (1797-1875), Utrecht (L. 581); his sale, Amsterdam (G.T. Bom), 30 November 1937, no. 144, with inv. no. RP-T-1937-19, fl. 20 for both, to the dealer P. Brandt for the museum (L. 2228)
Object number: RP-T-1937-18
The artist
Biography
Constantijn Netscher (The Hague 1668 - The Hague 1724)
He was born in December 1668 in The Hague as the fifth child of the painter Caspar Netscher (c. 1635/36-1684) and his wife, Margaretha Godijn (?-1694). Of his siblings, Theodorus Netscher (1661-1728) and Anthonie Netscher (1679-1713) also became painters. As Constantijn was only sixteen years old when his father died, his training was overseen by his mother, as he reported himself to Van Gool – ‘Me Moêr heeft me schilderen geleert’ (‘My mother taught me to paint’).1J. van Gool, De nieuwe schouburg der Nederlantsche kunstschilders en schilderessen, 2 vols., The Hague 1750-51, I (1750), p. 369. From 1685 to 1694, he attended the Academie van de Teycken-Const in The Hague, of which he later served as governor.2In 1699/1700, 1701/02, 1708/09, 1711/12, 1712/13 and 1718/19. In addition, in 1686, he became member of the Confrerie Pictura as a ‘master’s son’, the city’s artist society to which he was appointed several times as warden and dean.3He was warden in 1706/07, 1716/17, 1717/18 and 1719/20-1722/23 and dean in 1712/13 and 1713/14.
In 1692, the twenty-four-year-old Constantijn had a daughter out of wedlock by Margaretha van Diemen (?-?), but their banns of marriage were suspended on 30 January 1709, when her father was obliged to provide her annual support. Only six days later, on 6 February 1709, he married nineteen-year-old Magdalena van Haensbergen ([?]1690-?), a daughter of the painter Jan van Haensbergen (1642-1705), who was strongly influenced by Caspar Netscher. Only two and a half months later, on 25 April 1709, their first child Sophia, presumably named after Magdalena’s mother, was born.
After the death of his mother in 1694, Constantijn inherited his father’s house in the Spekstraat in The Hague and most of the paintings left by his father. As a portrait painter, Constantijn followed his father’s model; however, his works are marked by a more artificial stance and an advanced state of fashion.
Constantijn died in 1724 and was buried on 27 March in the Kloosterkerk in The Hague, in the tomb of the Van Haensbergen family. He left his widow and four children, Adriana Willemina, Pieter Marinus (who became a merchant and settled in Rotterdam), Constantia and Johanna Maria.
His pupils were Coenrat Roepel (1678-1748), Hendrick Doorschodt (1668-1751), Dirk Kindt (1676-1762) and Mattheus Verheyden (1700-1777), who owned and inscribed several drawings by Netscher family members.
Annemarie Stefes, 2019
References
J. van Gool, De nieuwe schouburg der Nederlantsche kunstschilders en schilderessen, 2 vols., The Hague 1750-51, I (1750), pp. 367-72; G. Hoet, Aanmerkingen op het eerste en tweede deel des Nieuwen Schouburgs der Nederlandsche kunstschilders en schilderessen door Johan van Gool, s.l. [after 1751], pp. 54-55; J.C. Weyerman, De levens-beschryvingen der Nederlandsche konst-schilders en konst-schilderessen, 4 vols., The Hague/Dordrecht 1729-69, IV (1769), pp. 148-53; P.M. Netscher, Geslachtsregister der Familie Netscher met levensschetsen van de schilders Caspar, Theodorus en Constantyn en zeven genealogische tabellen, The Hague 1889, pp. 21-23 (online at https://archive.org/details/geslachtsregiste00unse); A. von Wurzbach, Niederländisches Künstlerlexikon, 3 vols., Vienna/Leipzig 1906-11, II (1910), p. 229; U. Thieme and F. Becker, Allgemeines Lexikon der bildenden Künstler: Von der Antike bis zur Gegenwart, 37 vols., Leipzig 1907-50, XXV (1931), pp. 398-99 (entry by R. Fritz); H. Gerson, Ausbreitung und Nachwirkung der holländischen Malerei des 17. Jahrhunderts, Amsterdam 1942, p. 274; F.W.H. Hollstein et al., Dutch and Flemish Etchings, Engravings and Woodcuts, c. 1450-1700, 72 vols., Amsterdam and elsewhere 1947-2010, XIV (1956), p. 146; A. Blankert, 'Invul-portretten door Caspar en Constantyn Netscher', Oud Holland 81 (1966), no. 4, pp. 263-69; E. Buijsen (ed.), Haagse schilders in de Gouden Eeuw. Het Hoogsteder Lexicon van alle schilders werkzaam in Den Haag, 1600-1700, Zwolle 1998, pp. 218-23, 332-33; M.E. Wieseman, Caspar Netscher and Late Seventeenth-Century Dutch Painting, Doornspijk 2002 (Aetas Aurea: Monographs on Dutch & Flemish Painting, vol. 16), pp. 29, 33, 119-20, 128, 140, 142, 155-59; J. Foucart, 'Casper ou Constantin Netscher? La Rehabilitation inspirée d'un Netscher du Louvre', Revue du Louvre et des Musées de France 4 (October 2005), pp. 43-50; P. Groenendijk, Beknopt biografisch lexicon van Zuid- en Noord-Nederlandse schilders, graveurs, glasschilders, tapijtwevers et cetera van ca. 1350 tot ca. 1720, Utrecht 2008, p. 575; https://rkd.nl/artists/59179
Entry
The present drawing is the earliest dated work known by Constantijn Netscher, the fifth-born son of Caspar Netscher (c. 1635/36-1684). It was executed in 1683, a year before the death of his father. Judging from the mature hand, the initial inscription at lower centre appears to be written by Caspar, to which the young thirteen-year-old draughtsman proudly added his age. The drawing is a fine example of the then current practice of pupils learning how to draw by copying prints. Constantijn Netscher took his model from no. 10/11 from a printed series of thirteen called Scherzi d’amore by Odoardo Fialetti (1573-1638). The corresponding etching (![fig. a][fig. a]) dates from 1617.4W.L. Strauss (ed.), The Illustrated Bartsch, New York and elsewhere 1978-, XXXVIII (1983), p. 213 (no. 15). Although the series is not specifically mentioned in the estate of Margaretha Godijn (?-1694), Caspar Netscher’s widow (cf. M.E. Wieseman, Caspar Netscher and Late Seventeenth-Century Dutch Painting, Doornspijk 2002 (Aetas Aurea: Monographs on Dutch & Flemish Painting, vol. 16), pp. 143-48, doc. 99), it might have been part of a brown album containing 398 prints mostly Italian (‘in’t groot boeck met bruyn leer 398 prenten meest Italiaens’), cf. ibid., p. 147. Constantijn kept to the format, while omitting the background landscape, but carefully reproducing the heavy-proportioned, fleshy figures of Venus and Cupid seated on drapery-covered boulder. Three years before joining the Academie van de Teycken-Const in The Hague, Constantijn already proved to be a gifted follower of his father.
Annemarie Stefes, 2018
Literature
J. van Roekel, ‘De confrerie Pictura en de Haagse Tekenacademie’, Haags naakt. Geschiedenis van het tekenen naar naakt model op de Haagse Academie van Beeldende Kunsten, exh. cat. Rijswijk (Museum Rijswijk) 1982, pp. 6-7 (fig. 7); M.E. Wieseman, Caspar Netscher and Late Seventeenth-Century Dutch Painting, Doornspijk 2002 (Aetas Aurea: Monographs on Dutch & Flemish Painting, vol. 16), p. 119 (n. 38)
Citation
A. Stefes, 2018, 'Constantijn Netscher, Venus spanking Amor, The Hague, 1682', in J. Turner (ed.), (under construction) Drawings 2, online coll. cat. Amsterdam: https://data.rijksmuseum.nl/200143004
(accessed 11 December 2025 11:32:41).Footnotes
- 1J. van Gool, De nieuwe schouburg der Nederlantsche kunstschilders en schilderessen, 2 vols., The Hague 1750-51, I (1750), p. 369.
- 2In 1699/1700, 1701/02, 1708/09, 1711/12, 1712/13 and 1718/19.
- 3He was warden in 1706/07, 1716/17, 1717/18 and 1719/20-1722/23 and dean in 1712/13 and 1713/14.
- 4W.L. Strauss (ed.), The Illustrated Bartsch, New York and elsewhere 1978-, XXXVIII (1983), p. 213 (no. 15). Although the series is not specifically mentioned in the estate of Margaretha Godijn (?-1694), Caspar Netscher’s widow (cf. M.E. Wieseman, Caspar Netscher and Late Seventeenth-Century Dutch Painting, Doornspijk 2002 (Aetas Aurea: Monographs on Dutch & Flemish Painting, vol. 16), pp. 143-48, doc. 99), it might have been part of a brown album containing 398 prints mostly Italian (‘in’t groot boeck met bruyn leer 398 prenten meest Italiaens’), cf. ibid., p. 147.











