Het vroege werk van Joost Cornelisz. Droochsloot. Nieuwe genres in de Domstad: 1615-1630

With approximately 350 paintings, eleven drawings and three etches, the familiar oeuvre of Utrecht-born painter Joost Cornelisz. Droochsloot (1585-1666) is nothing short of extensive. Numbering 180, his farming scenes comprise the majority of his work, but are generally unremarkable, thereby traditionally establishing Droochsloot as a mediocre, largely unexceptional painter. This article argues that his earlier works (1615-1630), which have not received the attention they deserve in the past, are a testament to the artist's ingenuity and profound understanding of the art market. Archive sources and apprenticeship contracts are absent, but based on stylistic comparison this research suggests that he may have been under the tutelage of David Vinckboons (1576-1629) and at a later date possibly at work in the studio of Frans Francken II (1581-1642). Particularly his early work displays striking similarities with that of both masters. Undisputedly, Droochsloot was in close contact with the artists of the Brueghel school. This Flemish style was not yet known in Utrecht, and was introduced there by Droochsloot. Moreover, in his work he depicted themes that did not have a pictorial tradition in his city of residence. However, Droochsloot does not present himself as an unresisting disciple of the Bruegel school. He adapted the Flemish style to the demands of his birthplace, and made important changes with respect to the works of the Catholic Flemish artists. The principal difference is that Droochsloots primarily aimed to depict everyday life. He made a conscious choice to detach his work from a specific faith, even in those works that represent Christian themes. He furthermore left out any scenes that might be cause for offense. In that respect, he is essentially different from his Flemish colleagues, who took a much more moralistic approach. These unique adjustments were undoubtedly a tactical move that made his work pleasing to a larger audience of buyers. In turn, despite the immense competition in Utrecht and the rest of the Northern Netherlands, Droochsloot was able to support himself as a painter for a considerable period of time.