schouman the naturalist: fine feathers make fine …...that the hooded crow (corvus cornix),...

Schouman the naturalist: Fine feathers make fine birds? Examining a painted canvas from a biological point of view

by S.J. van Ettinger

1. Introduction

1.1 Research question

During a visit to the Château de Chenonceau

(Chenonceaux, Indre-et-Loire, France) I stumbled

upon a painting by the Dutch painter Aart

Schouman (1710-1792)(Figure 1; Figure 2). The

undated painting was simply entitled as “painted

canvas” and was on display on the first floor at the

Galerie Médicis, together with another painting by

Schouman. At first sight it caught my attention

because of the seemingly Dutch landscape and a

skilful depiction of its flora and fauna. However, a

closer look at the displayed bird species got me

slightly confused. Schouman’s composition

consists of a variety of common Dutch wetland

birds, but also includes species that are considered

rare nowadays.

This gives rise to the following question: How was

Schouman able to display rare bird species in his

painting; did Schouman observe his objects in their

natural environment?

1.2 Hypotheses

Several scenarios seem possible:

a) Since biodiversity and the abundance of different (bird) species is changing over time, it is

imaginable that all depicted bird species used to be relatively common in the Netherlands

during the 18th century, enabling Schouman to easily observe and illustrate the displayed bird

species. Whether Schouman painted based upon his own observations will be investigated by

analysing the visual elements of the painting.

b) In case some of the displayed bird species also used to be rare in the 18th century, there is a

possibility that Schouman was actively looking for extraordinary bird species to portray. It

could even be that Schouman did not observe the rare bird species in the Netherlands, but

went abroad to observe species that were uncommon in the Netherlands.

c) Another possibility is that Schouman used external sources, such as paintings of others, to

realize his composition. This scenario is interesting since it might reveal that his “naturalist”

elements may to a certain extent be “artificial”. If Schouman used external sources, it is

interesting to know what sources he used and how he obtained them.

Fig. 1: Aart Schouman, self-portrait (1730)

Source: http://www.rijksmuseum.nl

Fig. 2: Painted canvas by Aart Schouman, naturalist Dutch painter (1710-1792). On display at the Château de Chenonceau (Chenonceaux, Indre-et-Loire, France), July 2015.

2. Visual analysis

2.1 Landscape

The painting displays a wetland with vegetation and different bird species. Among the plant species

are Yellow flag (Iris pseudacorus), presumably an (English) oak tree (Quercus robur) with its gnarly

branches and shrivelled brownish leaves and a pollard willow (Salix spp.)(Figure 3). The fact that

Yellow flag is in bloom (May-July)1 and most plants have green leaves suggest that the background

displays a wetland in late spring.

The presence of Yellow flag and, in particular the presence of a pollard willow reinforces the

assumption that Schouman displays a Dutch wetland. Back in the days, willow fields were common in

the Netherlands, mainly in the province of South-Holland and near the Biesbosch. Pollarding willows

encouraged the growth of branches, which were commercially used by industries such as basket- and

broom making and for the construction of wattle panels up until the 20th century.

Schouman was born on the 4th of March in 1710 in Dordrecht (South-Holland, the Netherlands), a

town situated next to the Biesbosch, but mainly lived in the Hague2. However, he regularly visited his

hometown2, which increases the likelihood that Schouman observed and painted a representation of a

Dutch wetland with willows, presumably in the vicinity of Dordrecht. It is possible that the background

portrays an actual landscape of the Biesbosch in the 18th century, as seen through Schouman’s eyes.

Fig. 3: Photo comparison of plant species.

Yellow flag (Gele lis, Iris pseudacorus)

Credit: Jorg Hempel

English oak (Zomereik, Quercus robur)

Credit: Sander van der Molen

Pollard willow (Knotwilg, Salix spp.)

Credit: Brabants Landschap

2.2 Composition of birds

Schouman displays eleven different bird species. Most species can be named with great certainty

(Figure 4). For each species, credits and distribution maps are included in the appendix (Appendix

Figure 1-11). Only the depiction of a Coot (Fulica atra) is open for debate. To my knowledge

Schouman displays a juvenile individual, but his depiction also resembles a juvenile Common

moorhen (Gallinula chloropus). However, the latter should show white undertail coverts.

Fig. 4: List of portrayed bird species and their current occurrence in the Netherlands.

Species (scientific) Mainly observable during Current rarity

1. Hooded crow (Corvus cornix) Winter Rare

2. Eurasian hoopoe (Upupa epops) Spring, summer Rare

3. Bearded reedling (Panurus biarmicus) Autumn Relatively common

4. Eurasian teal (Anas crecca) Winter Common

5. Eurasian oystercatcher (Haematopus ostralegus) Year-round Common

6. Greater white-fronted goose (Anser albifrons) Winter Common

7. Smew (Mergellus albellus) Winter Relatively common

8. Common shelduck (Tadorna tadorna) Year-round Common

9. Coot (Fulica atra) Year-round Common

10.Mute swan (Cygnus olor) Year-round Common

11. Black-crowned night heron (Nycticorax nycticorax) Summer Rare

Contrary to the arrangement of plant species, Schouman’s composition of birds tells us that it is

unlikely that he observed all bird species at the same time, or even during the same season. Some

depicted species only reside in the Netherlands during the winter months whereas others only pass by

during summer. There is no reason to assume that bird migration or migration pathways changed that

drastically over the course of time that Schouman encountered a, for instance, Smew (Mergellus

albellus) in late spring. The background with its vegetation might be a snapshot of a Dutch wetland

during late spring, but we may now conclude that the bird species are clearly composed and not based

on a late spring stroll through Dutch nature.

But then again, could it be that Schouman observed the birds, including nowadays’ rare bird species,

throughout the year because they used to be relatively common in the 18th century? In the upcoming

section the presence of the Hooded crow (Corvus cornix), Eurasian hoopoe (Upupa epops) and Black-

crowned night heron (Nycticorax nycticorax) during the 18th

century will be examined.

2.3 Occurrence during the 18th century

2.3.1 Hooded crow

The first written record of a Hooded crow (Corvus cornix) in the Netherlands is from Cornelis Jacobsz

van Heenvliet, who describes an individual flying over the Haarlemmertrekvaart (Noordwijk, South-

Holland) on the 10th of October 1635.

3

The hooded crow is likely to be a common sight during the (late) 18th century.

4 During winter nights,

they were known to reside on barn roofs. Besides, they used to breed near farms during summer,

although Nozeman’s wording could suggest that this phenomenon was less common. However, it did

cause an unpleasant relationship with farmers since the Hooded crow would eat seeds from freshly

sown fields. Therefore, nests were destroyed and removed.4 Even during the 19

th- and early 20

th

century the Hooded crow was a common visitor during winters, but quickly the population would

experience a downfall from the 50’s onwards.5

2.3.2 Eurasian hoopoe

According to Boele & van Winden (2001) the Eurasian hoopoe (Upupa epops) was presumably

breeding regularly in the Netherlands during the Middle Ages, but no further details are provided.6

However, it is known that the Hoopoe is an iconic bird in the Medieval bestiary tradition. The bird is

mainly associated with filth and foul habits, since it was said to collect human dung and builds its nest

with it, and eats bad smelling excrement. Besides, the Hoopoe is associated with the moral that

children should care for their aging parents, as their parents cared for them.7,8

Birkhead’s “The

Wisdom of Birds” also contains an image of the Eurasian hoopoe with a caption of the thirteen century

German polymath and cleric Albert the Great.9 He described the bird as “a familiar bird…” which

makes it likely that the bird was indeed relatively common during the Middle Ages in Western Europe.

Fortunately, the 18th century Dutch churchman and naturalist Cornelis Nozeman (1720-1786)

mentions that, although an uncommon sight, he observed Eurasian hoopoes multiple times during the

springs of 1745-1747 when he visited several towns located near the dunes of North-Holland.10

He

presumed those were breeding, which could indicate commonness. In July of 1778 he provides us

with the first written record of breeding Hoopoes in Rotterdam (South-Holland).10

This sighting tells us

that the Eurasian hoopoe was also present in South-Holland during the 18th century. Besides,

Nozeman is able to describe the bird in great detail. Together with his statement on the content of the

bird’s stomach (maggots and beetles) it is clear that this bird was profoundly examined.

2.3.3. Black-crowned night heron

The Black-crowned night heron (Nycticorax nycticorax) was presumably relatively common and bred in

Dutch river- and marshlands during the 17th

and 18th century.

10 The birds were known to return to their

breeding places year by year and there is no mention of the bird being uncommon or rare during the

18th century. This changed over the course of time. A variety of newspapers report a Nachtreiger

(translation: Night heron) near Zwolle (Overijssel) during the winter of 1838.11

The weakened bird was

caught and ultimately died. The bird was described as uncommon, hence the publicity. However, the

Black-crowned night heron was known to be breeding in the Netherlands. By the end of the 19th

century the last breeding colony disappeared due to the drainage of marshlands and the collecting of

eggs.12

2.3.4 Closure

Although written records of bird sightings or population trends are scarce, I carefully dare to conclude

that the Hooded crow (Corvus cornix), Eurasian hoopoe (Upupa epops) and the Black-crowned night

heron were all more common during the 18th century than during the 21

st century.

Nowadays, the sightings of rare bird species are being shared among birders, enabling them to get a

glimpse of the exotic appearances. Also, birding is more common and not only reserved for the elites.

Advanced optics can be purchased by the mass and information on birds is profound and easily

accessible. As a fact, the main online hub of Dutch nature sightings now has over 14.000 active

members (2014).13

Therefore, the fact that back in the days some people were still able to fortunately

run into these bird species seems like an argument to carefully deduce that the described species

were relatively common.

Knowing that Schouman could have observed the bird species in the Netherlands during the 18th

century, which is in accordance with our first hypothesis, we still don’t know whether Schouman really

observed the birds in their natural surroundings. Was Schouman a true naturalist, who observed and

portrayed species in the most natural way possible?

2.4 Schouman as an observer

Schouman is honoured for his lively display of birds in their natural surroundings14

, but as a biologist I

partly disagree. Although the birds appear lively and the surroundings look natural, the relation

between the birds and the vegetation often seems lost. For instance, as the name suggests one would

most likely encounter the nervous Bearded reedlings (Panurus biarmicus) performing aerial acrobatics

in the reed and not sitting on a branch. Furthermore, the Smew (Mergellus albellus) would be more

likely to be situated in the water. Also, if we analyse another work of Schouman (Figure 5), we do not

only notice that Schouman portrays an exotic canary with a native bird (Ring ouzel, Turdus torquatus),

but also that the Ring ouzel’s neck is strangely bended. Naturally, there is a much greater chance that

one would observe the bird upright.

Therefore, his observational flaws forces us to believe that his depictions of Dutch birds in the

discussed painting (Figure 2), although it’s likely that they were common enough to be observed in

nature, were studied elsewhere and later added to the background of late spring vegetation.

Fig. 5: Schouman’s “Een Canarie Vogel en Ring leijster. Levensgroot” in comparison with a

contemporary picture of a Ring ouzel (Turdus torquatus). Photo credit: Gabriel Buissart

3. Aart Schouman

3.1 Life history

Schouman was born in Dordrecht (1710), but lived in the Hague from 1748-1792. He served as an

apprentice to the Dordrecht painter Adriaan van der Burg when he was 15 years old. Initially,

Schouman was producing portraits, but he soon became a jack-of-all-trades who produces everything

from painted-wall hangings, to glass engravings, mythological and biblical paintings and reproductions

of the old masters.2,15

Later, he also painted decorative compositions with birds, rare animals and

plants. Schouman became especially known because of his aquarelles of exotic birds. In order to

produce his naturalist paintings, Schouman studied nature, as well as the oeuvres of Jan Weenix

(1640-1641) and Melchior d’ Hondecoeter (c. 1636–1695).14

Strong resemblances are observable.

3.2 Inspiration

Schouman was privileged by regent Willem V to observe and

illustrate exotic species in the royal menagerie, het klein Loo

near the Hague. Together with others Schouman’s illustrations

contributed to Vosmaer’s “Regnum animale”.16

Cornelius Nozeman describes that he witnessed the arrival of

a Black-crowned night heron at a menagerie in 1769 10

, after

the bird got accidentally trapped in fishing-gear. Unfortunately,

he did not explicitly describe whether it concerned the royal

menagerie near the Hague. However, Nozeman did collect

species for the collection of Anna van Hannover, spouse of

Willem IV.17

This collection was started in 1751 and ultimately

became the royal collection of Willem V.

Schouman was not only able to work in the menagerie, but

also to examine stuffed specimens of Willem V’s royal

collection.14

Therefore, there is a fair chance that the bird

described and witnessed by Nozeman is depicted on

Schouman’s painting. If this is the case, Schouman’s painting could be dated post 1769 which is

possible since birds where his main theme during the second half of his life.

Besides, Schouman’s visits to the royal collection could explain why some of Schouman’s portrayed

birds are oddly deformed. As a result of the stuffing process, the birds might get deformed. Maybe this

is why the Ring ouzel’s (Turdus torquatus) neck is portrayed in such an odd way (Figure 5). Another

result of working based on specimens, instead of field sightings, is the previously described missing

link with the bird’s habitat. Taxidermists often mount there specimens on random branches (Figure 6).

This could be the reason that Schouman portrays his Bearded reedlings (Panurus biarmicus) on a

branch instead of in reed vegetation. Furthermore, some of Schouman’s birds are almost identically

portrayed on different paintings which could suggest that they were based on the same mounted

specimen (Figure 7). Notice the hollow wings, downwards pointing tail and twisted position of the

throat. However, caution should be taken since we don’t know exactly what the stuffed animals that

Schouman studied looked like.

Fig. 6: Mounted bearded reedling Photo credit: trusted

Fig. 7: Comparison between Schouman’s “Een bonte kraai ,1752” and the Hooded crow

of the discussed painting. Source: http://www.teylersmuseum.nl

4. Conclusion

No doubt that Schouman studied nature and tried to display it as lively and natural as possible. The

background vegetation is a prime example of his intention, as well as many of his other works.

However, Schouman wouldn’t hesitate to paint a composition of bird species that could not coexist in a

Dutch wetland during a particular season. Also, he displayed several species that are considered rare

nowadays. However, we concluded that the portrayed bird species were likely to be more common

during the 18th century. If we closely observed the portrayed bird species, especially their behaviour

and relationship with the vegetation, it seemed plausible that the discussed painting is to a large

extent based on mounted, or captive animals instead of personal observations of the species in their

natural surroundings. Thus, Schouman could have observed all portrayed bird species, but his visits to

the menagerie and royal collection are likely to be fundamental to Schouman’s illustrations of birds

which were later added to the background of late spring wetland vegetation.

5. References

1. van der Meijden, R. (2005). Heukels’ flora van Nederland.23ste

ed. Groningen/Houten: Noordhoff Uitgevers.

2. Rijksbureau voor kunsthistorische documentatie (2015). Aert Schouman.

Retrieved from: https://rkd.nl/nl/artists/71074

3. Swaen, A.E.H. & van Heenvliet, C.J. (1948). Jacht-bedrijff : naar het handschrift in de Koninklijke Bibliotheek te ’s-Gravenhage. Leiden

: Brill.

4. Nozeman, C., Houttuyn, M. & Sepp, C. (1797). Nederlandsche vogelen dl. III. Amsterdam: J.C Sepp.

5. Zijlstra, M. (2003). Flevoland het laatste bolwerk van de Bonte kraai. Limosa 76(2), p. 49-58.

6. Boele, A. & van Winden, E. (2001) Kleurrijk en exotisch: Hoppen bezoeken Nederland. Sovon-Nieuws 14(1), p. 7-8.

7. Gibs, L. (2003). Online textbook for Medieval Latin.

Retrieved from: http://www.mythfolklore.net/medieval_latin/08_physiologus/supp/hoopoe.htm

8. Badke, D. (2011). The medieval bestiary: animals in the Middle Ages.

Retrieved from: http://bestiary.ca/beasts/beast243.htm

9. Birkhead, T. (2008). The Wisdom of Birds: an illustrated history of ornithology. London: Bloomsbury.

10. Nozeman, C., Houttuyn, M. & Sepp, C. (1786). Nederlandsche vogelen dl. II. Amsterdam: J.C Sepp.

11. Overijsselsche Courant 27-2-1838; Utrechtse Courant 2-3-1838

Dagblad van 's-Gravenhage van 2-3-1838; Vlissingsche Courant 3-3-1838

12. Sovon (2015). Kwak.

Retrieved from: https://www.sovon.nl/nl/soort/1040

13. Waarneming.nl (2015). Statistieken (NL).

Retrieved from: http://waarneming.nl/statistiek.php

14. van Eijnden, R. & van der Willigen, A. (1979). Geschiedenis der vaderlandsche schilderkunst, II. Amsterdam: B.M. Israël.

15. Scheen, P.A. (1981). Lexicon Nederlandse Beeldende Kunstenaars, 1750-1880. P. Scheen (Ed.).

’s Gravenhage: Scheen.

16. Vosmaer, A. (1804). Natuurkundige beschryving eener uitmuntende verzameling van zeldsaame gedierten bestaande in Oost- en

Westindische viervoetige dieren, vogelen en slangen weleer levend voorhanden geweest zynde, buiten Den Haag, op het Kleine Loo

van Z.D.H. den Prins van Oranje-Nassau. Amsterdam: J. B. Elwe.

17. van der Aa, A.J. (1868). Biographisch woordenboek der Nederlanden. Deel 13. Haarlem: J.J. van Brederode.

https://rkd.nl/nl/artists/71074

http://www.mythfolklore.net/medieval_latin/08_physiologus/supp/hoopoe.htm

http://bestiary.ca/beasts/beast243.htm

https://www.sovon.nl/nl/soort/1040

http://waarneming.nl/statistiek.php

6. Appendix

1: Hooded crow (Bonte kraai, Corvus cornix)

1a. Photo comparison

Credit: Andreas Trepte

1b. Current distribution

Seasonal occurrence http://www.xeno-canto.org

Resident Breeding Non-breeding Passage Uncertain

1c. Current indication

Rarity: Rare Presence: Small numbers reside in the Netherlands during winter, very few during summer. Occasionally breeding.

Source: http://www.waarneming.nl

Source: http://www.vogelbescherming.nl

2: Eurasian hoopoe (Hop, Upupa epops)


Credit: Dûrzan cîrano




2c. Current indication Rarity: Rare Presence: Migratory bird. Most likely to be observed from April to September. However, very few reside in the Netherlands. Occasionally breeding.

Source: http://www.waarneming.nl Source: http://www.vogelbescherming.nl

3: Bearded reedling (Baardmannetje, Panurus biarmicus)


Credit: Martin Mecnarowski




3c. Current indication

Rarity: Relatively common Presence: Year round. Mainly observed during autumn. Roaming throughout winter.


4: Eurasian teal (Wintertaling, Anas crecca)


Credit: Jes Lu




4c. Indication

Rarity: Common Presence: Very abundant during winter but, can be observed year round. Rarely breeding in the Netherlands.


5: Eurasian oystercatcher (Scholekster, Haematopus ostralegus)






5c. Indication

Rarity: Common Presence: Year-round


6: Greater white-fronted goose (Kolgans, Anser albifrons)




Seasonal occurrence Source: http://www.xeno-canto.org


6c. Indication

Rarity: Common Presence: Very abundant during winter but, can be observed year round. Rarely breeding in the Netherlands


7: Smew (Nonnetje, Mergellus albellus)






7c. Indication

Rarity: Relatively common Presence: Migratory bird species present during winter in varying numbers.


8: Common shelduck (Bergeend, Tadorna tadorna)


Credit: Dick Daniels




8c. Indication Rarity: Common Presence: Breeds in the Netherlands. Can be observed year-round.



9: (juvenile) Coot (Meerkoet, Fulica atra)


Credit: Michael Palmer




9c. Indication

Rarity: Common Presence: Can be observed year round.



10: Mute swan (Knobbelzwaan, Cygnus olor)


Credit: Marek Szczepanek




10c. Indication

Rarity: Common Presence: Can be observed year round.



11: Black-crowned night heron (Kwak, Nycticorax nycticorax)


Credit: Mehmet Karatay




11c. Indication

Rarity: Rare Presence: Very scarce migratory bird, irregularly breeding. Mainly observed during summer.



schouman the naturalist: fine feathers make fine …...that the hooded crow (corvus cornix),...

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