Art by Jan van der Heyden

Art by Jan van der Heyden
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Jan van der Heyden (March 5, 1637, Gorinchem – March 28, 1712, Amsterdam) was a Dutch Baroque-era painter, draughtsman, printmaker, and inventor who significantly contributed to contemporary firefighting. He improved the firehose (1672, with his brother Nicolaes, who was a hydraulic engineer), invented by Johann Hautsch, modified the manual fire engines, organised the first European volunteer fire brigade (1685) and wrote and illustrated the first firefighting manual (Brandspuiten-boek). A comprehensive street lighting scheme for Amsterdam, which lasted from 1669 until 1840, designed and implemented by Heiden, was adopted as a model by many other towns in the Netherlands and abroad.
He was a contemporary of the landscape painters Hobbema and Jacob van Ruisdael, with the advantage, which they lacked, of a certain professional versatility; for, whilst they painted admirable pictures and starved, he varied the practice of art with the study of mechanics. Jan van der Heyden, a mennonite also introduced the lamp post, and died in wealth as the superintendent of the lighting and director of the (voluntary) firemen\'s company at Amsterdam.
Until 1672 he painted in partnership with Adriaen van de Velde. After Adrian\'s death, and probably because of the loss which that event entailed upon him, he accepted the offices to which allusion has just been made. At no period of artistic activity had the system of division of labour been more fully or more constantly applied to art than it was in Holland towards the close of the 17th century.
Van der Heyden, who was perfect as an architectural draughtsman in so far as he painted the outside of buildings and thoroughly mastered linear perspective, seldom turned his hand to the delineation of anything but brick houses and churches in streets and squares, or rows along canals, or \"moated granges,\" common in his native country.
He was a travelled man, had seen The Hague, Ghent and Brussels, and had ascended the Rhine past Xanten to Cologne, where he copied over and over again the tower and crane of the great cathedral. But he cared nothing for hill or vale, or stream or wood. He could reproduce the rows of bricks in a square of Dutch houses sparkling in the sun, or stunted trees and lines of dwellings varied by steeples, all in light or thrown into passing shadow by moving cloud.
He had the art of painting microscopically without loss of breadth or keeping. But he could draw neither man nor beast, nor ships nor carts; and this was his disadvantage. His good genius under these circumstances was Adrian van der Velde, who enlivened his compositions with spirited figures; and the joint labour of both is a delicate, minute, transparent work, radiant with glow and atmosphere.


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