A Life in Color and Light

Born in The Hague to parents of German origin, Mattheus Terwesten grew up in a household where art was a family language. His father, Hans Jacob, worked as a goldsmith, and it was in this environment of craftsmanship that Mattheus began to understand the physical nature of creation. He was one of several children, including his brothers Augustinus and Ezaias, who all found their own paths within the visual arts. While his brothers pursued their own distinct styles, Mattheus developed a reputation for a versatility that allowed him to move between the intimate scale of a portrait and the grand requirements of architectural decoration.

His early training was shaped by those closest to him. He studied under his older brother, Augustinus, before receiving further instruction from Willem Doudyns and Daniel Mijtens the Younger. This foundation allowed him to develop a command over both the human form and the complex allegories that were so popular in his era. By the time he reached adulthood, he was not merely a painter but a significant figure in the academic circles of his time, eventually serving as the director of The Hague Drawing Academy.

The Decorative and the Divine

Mattheus found much of his work within the walls of luxurious buildings. He was a painter of spaces, tasked with transforming the architecture of the wealthy into something more profound. His brush touched chimney pieces, overdoors, wall hangings, and ceilings, turning functional surfaces into scenes of mythological and allegorical significance. These works required a deep understanding of how light and perspective would interact with the physical structure of a room.

Beyond these decorative commissions, he was a skilled portraitist. He had a way of capturing the likeness of his subjects that spoke to their status and character. His interests were not limited to the earthly realm, however. He frequently turned to mythological subjects, using the stories of old to provide a sense of grandeur to his compositions. This ability to navigate between the real and the imagined made him a sought-after artist for those looking to decorate their private and public lives.

A Career Across Borders

The movement of his life took him far from the streets of The Hague. In 1695, he traveled through Berlin, Augsburg, Florence, and Siena before arriving in Rome. In the Italian city, he became a member of the Bentvueghels, an association of Dutch and Flemish artists. It was here that he adopted the nickname Arend, or Aquila, meaning eagle, a common tradition for those joining the group. This period in Italy allowed him to study antique models, producing an extensive album of drawings that helped refine his understanding of classical form.

His professional standing eventually led him to the Prussian court. He became a court painter to Frederick William I of Prussia and held a position as a professor at the Prussian Academy of Arts. This role allowed him to influence the next generation of artists, passing on the techniques he had gathered from his travels and his family. He remained a significant figure in the art world until his death in 1757, leaving behind a legacy of both academic leadership and decorative mastery.