Jan van der Meer II (Haarlem 1656-Haarlem 1705)

He was the eldest son of the Haarlem artist Jan Vermeer van Haarlem I (1628-1691) and Aeltje Bosvelt (1629-1691). His brother Barend van der Meer (1659-before 1703) was also a painter and specialized in still lifes. As early as 1751, Johan van Gool mentioned that Jan was trained by both his father and by Nicolaes Pietersz Berchem (1621/22-1683).⁷⁷J. van Gool, De nieuwe schouburg der Nederlantsche kunstschilders en schilderessen, 2 vols., The Hague 1750-51, II (1751), p. 460. His training with Berchem is usually situated in the early 1670s, when Berchem was living in Haarlem.⁸⁸See also inv. no. RP-T-1879-A-49; A. Stefes, Nicolaes Pietersz. Berchem: Die Zeichnungen, 3 vols., Bern 1997 (PhD diss., Universität Bern), I, p. 101. Although some authors wrote that Jan travelled to Italy, possibly even with his brother Barend,⁹⁹A. von Wurzbach, Niederländisches Künstlerlexikon, 3 vols., Vienna/Leipzig 1906-11, II (1910), p. 128; 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. 772. and he frequently depicted Italianate landscapes, no journey to Italy is documented. His oeuvre does not offer clues for specific locations he may have visited (see also inv. no. RP-T-1918-420). If he did travel, then he must have returned to Haarlem by 1683, when he became a member of both the Guild of St Luke and the chamber of rhetoric De Wijngaardranken. On 7 February of the same year he married Maria Dusart (1662-1730).¹⁰¹⁰Haarlem, Noord-Hollands Archief, AVK, DTB 57, fol. 111. She was the sister of the artist Cornelis Dusart (1660-1704), who apparently drew a now lost portrait of his brother-in-law bearing an inscription that confirms Jan’s date of birth and that he died on 23 May 1705.¹¹¹¹A. van der Willigen, Les Artistes de Harlem: Notices historiques avec un précis sur la Gilde de St. Luc, Haarlem/The Hague 1870, p. 221. On 9 December 1700 Van der Meer’s possessions were sold due to bankruptcy.

In the past, the name Vermeer or Van der Meer caused a great deal of confusion, not only in relation to the famous Johannes Vermeer of Delft (1632-1675), but also regarding the Utrecht artist Johannes van der Meer (1630-1695/97) and the four subsequent generations of men called Johannes or Jan Vermeer or van der Meer within the same family in Haarlem. Their biographies were frequently mixed up.¹²¹²G. Weber, ‘Antoine Dézallier d’Argenville und fünf Künstler namens Jan van der Meer’, Oud Holland 107 (1993), no. 3, pp. 298-304; E. Buijsen, with G. Broersma, The Young Vermeer, exh. cat. The Hague (Mauritshuis)/Dresden (Gemäldegalerie Alte Meister/Staatliche Kunstsammlungen Dresden)/Edinburgh (National Gallery of Scotland) 2010-11, pp. 73-75. Bredius thought Jan’s grandfather was also a painter and therefore referred to him as Jan Vermeer I (1601-1670).¹³¹³A. Bredius (ed.), Künstler-Inventare: Urkunden zur Geschichte der holländischen Kunst des XVIten, XVIIten und XVIIIten Jahrhunderts, 8 vols., The Hague 1915-22, VI (1919), p. 223. Since any archival evidence is lacking to support this assumption, his son Jan is currently usually referred to as Jan Vermeer van Haarlem I (1628-1691).

The name Jan van der Meer II is used for the grandson Jan (1656-1705), given the way he often signed his drawings and paintings with his signature ‘J v der meer’ and the addition of ‘de jonge’ (the younger) and the date. Van der Meer produced mainly paintings and drawings with vast river landscapes or idyllic pastoral landscapes (usually with a somewhat Italianate character) that often include animals accompanied by one or more shepherds. His graphic oeuvre consists of four etchings, two depicting sheep and two with shepherds in landscapes.

Milou Goverde, 2019

References
J. van Gool, De nieuwe schouburg der Nederlantsche kunstschilders en schilderessen, 2 vols., The Hague 1750-51, II (1751), pp. 460-62; A.J. Dézallier d’Argenville, Abrégé de la vie des plus fameux peintres, 4 vols., Paris 1762, III, pp. 400-01; J. Immerzeel, De levens en werken der Hollandsche en Vlaamsche kunstschilders, 3 vols., Amsterdam 1842-43, II (1843), p. 210; A. van der Willigen, Les Artistes de Harlem: Notices historiques avec un précis sur la Gilde de St. Luc, Haarlem/The Hague 1870, p. 221; A. von Wurzbach, Niederländisches Künstlerlexikon, 3 vols., Vienna/Leipzig 1906-11, II (1910), p. 128; U. Thieme and F. Becker, Allgemeines Lexikon der bildenden Künstler: Von der Antike bis zur Gegenwart, 37 vols., Leipzig 1907-50, XXXIV (1940), p. 263 (entry by E. Trautscholdt); 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), pp. 1-3; W.L. Strauss (ed.), The Illustrated Bartsch, New York and elsewhere 1978-, I (1978), pp. 238-39; H. Miedema, De archiefbescheiden van het St. Lukasgilde te Haarlem, 1497-1789, 2 vols., Alphen aan den Rijn 1980, II, pp. 701, 746, 933, 947, 1036; G. Weber, ‘Antoine Dézallier d’Argenville und fünf Künstler namens Jan van der Meer’, Oud Holland 107 (1993), no. 3, pp. 298-304; P. Biesboer and N. Köhler (eds.), Painting in Haarlem, 1500-1850: The Collection of the Frans Hals Museum, coll. cat. Haarlem 2006, pp. 321-22 (entry by I. van Thiel-Stroman); Th. Vignau-Wilberg, ‘Jan van der Meer der Jüngere: Südliche Hügellandschaft’, in A. Czére (ed.), In Arte Venustas: Studies on Drawings in Honour of Teréz Gerszi: Presented on her Eightieth Birthday, Budapest 2007, pp. 199-200; 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. 772; E. Buijsen, with G. Broersma, The Young Vermeer, exh. cat. The Hague (Mauritshuis)/Dresden (Gemäldegalerie Alte Meister/Staatliche Kunstsammlungen Dresden)/Edinburgh (National Gallery of Scotland) 2010-11, p. 75