Johannes Teyler, born on May 23, 1648, in Nijmegen, was a multifaceted figure of the Dutch Golden Age, renowned for his contributions to color printmaking, painting, engraving, mathematics, and philosophy. His father, William Taylor, an English or Scottish mercenary, settled in the Netherlands, adopting the surname Teyler. Operating an inn called ’t Hert opposite Nijmegen’s Grote Markt, William provided a modest upbringing for Johannes, who was born to his second wife, Anna van Haef. The inn, frequented by students from the nearby Kwartierlijke Academie, likely exposed young Johannes to intellectual discussions, shaping his early curiosity.
Teyler’s education began at Nijmegen’s Latin School, where he studied Latin, followed by enrollment at the Kwartierlijke Academie. There, he immersed himself in mathematics and philosophy, writing a dissertation defending Cartesian philosophy, which reflected his alignment with progressive intellectual currents. After his father’s death in 1668, Teyler continued his studies in Leiden, deepening his engagement with Cartesian ideas. In 1670, he secured a position as Professor of Mathematics and Philosophy at Nijmegen, earning respect but facing career limitations due to his controversial philosophical stance, which clashed with traditional academic hierarchies.
Travels and Artistic Development
In 1679, Teyler embarked on an extensive journey through Italy, Egypt, the Holy Land, and Malta, sketching fortifications and honing his artistic skills. His time in Rome was particularly formative, where he joined the Bentvueghels, a Dutch artists’ society. Known by the nickname “Speculatie”—a nod to both his speculative nature and possibly his covert activities as a “speculator” (spy)—Teyler’s integration into this circle underscored his painting and engraving talents. His earlier nicknames, “Ezel” (Donkey) and “Gouden Ezel” (Golden Donkey), hinted at his complex persona and efforts to cultivate favor through generosity.
Returning to the Netherlands in 1683, Teyler settled in Holland, later purchasing a house in Blotinge near Rijswijk. His travels enriched his artistic repertoire, evident in his detailed etchings, such as a colorful view of Nijmegen from the north (c. 1680). His exposure to diverse cultures and landscapes informed the eclectic subjects of his later prints, ranging from mythological scenes to military plans.
Innovations in Color Printmaking
Teyler’s most enduring legacy lies in his pioneering work in color printmaking, particularly the à la poupée technique, which involved inking a single copper plate with multiple colors to produce vibrant, multi-hued impressions. Around 1683–1688, he developed this method, achieving unprecedented technical sophistication. His workshop, active from approximately 1685 to 1697, produced over 400 unique prints, featuring vivid yellows, reds, greens, and blues, with up to ten colors per impression and marbling effects that allowed colors to blend seamlessly. Subjects included classical figures, landscapes, birds, flowers, and military encampments, reflecting both artistic and commercial appeal.
In 1685, Teyler collaborated with Jan van Call, a former student and skilled engraver, to establish a printing workshop in Rijswijk, focusing initially on military-related works. By 1688, he secured a privilege from the Staten van Holland en West-Friesland, protecting his innovative color printing process. Teyler’s printers demonstrated remarkable precision, inking areas as small as 2 mm squared with distinct colors, a feat unmatched by contemporaries. His workshop also experimented with printing on fabric, producing wall hangings and bed hangings, though only four such examples survive. Visitors, including the renowned mathematician Christiaan Huygens, marveled at the workshop’s output, which included prints on linen that served as decorative paintings or wall coverings.
Later Years and Legacy
In 1697, Teyler sold his workshop, and the following year, its inventory—including copper plates, printing presses, and printed fabrics—was auctioned in Rotterdam. Around this time, he traveled to Berlin with Jacob de Heusch, a fellow Bentvueghel, possibly to explore new opportunities. Correspondence with Gottfried Leibniz, a close acquaintance, reveals Teyler’s attempt to secure a professorship in Wolfenbüttel in 1694, though he abandoned the pursuit after discussions with Huygens. His later years remain obscure, with his death estimated between 1697 and 1709, likely in Nijmegen.
Teyler’s influence on printmaking was profound, transforming the market with his colorful, high-quality prints. His à la poupée technique inspired Amsterdam publishers from 1695 to 1710, who produced around 600 additional prints in his style, including illustrations for Cornelis de Bruijn’s Travels (1700). The technique spread to England, Germany, France, and Italy throughout the 18th century, cementing Teyler’s role as a game-changer in print history. Despite his innovations, the labor-intensive nature of his process limited its adoption, as each impression required meticulous hand-inking.
Conclusion
Johannes Teyler’s life was a tapestry of intellectual pursuit, artistic innovation, and adventurous exploration. As a mathematician, philosopher, and artist, he navigated the cultural and intellectual currents of the Dutch Golden Age, leaving an indelible mark through his mastery of color printmaking. His workshop’s output, characterized by technical brilliance and aesthetic diversity, not only enriched the visual culture of his time but also set a precedent for future generations of printmakers. Though his name faded after his death, Teyler’s contributions endure in the vibrant prints that continue to captivate art historians and collectors, a testament to his visionary spirit and interdisciplinary genius.
Sources:
Johan Teyler - Wikipedia
Johannes Teyler and Dutch Colour Prints | Ad Stijnman - Academia.edu
Johannes Teyler (1648–1709?) and Colour Printed Fabric - American Printing History Association
Published: Johannes Teyler and Dutch colour prints, Hollstein
Johannes Teyler — Wikipedia
Johannes Teyler, Part I, Hollstein