Thomas Wijck's profession centered him within a network of artisans and tradesmen whose work incorporated chemical knowledge that bordered on, or was itself, alchemical. In Haarlem, Wijck likely encountered alchemy as a metaphor—but also as a means—for engaging with artistic work that was experimental. Access to both workshop knowledge and a tradition linking chemical inquiry to creativity and virtuosity provided the city’s artists with a way to translate their own practices into alchemical terms, whether literally or rhetorically. Wijck's prominence in the Haarlem Guild of Saint Luke, and his local connections, would have provided numerous opportunities for the exchange of recipes, materials, and knowledge.

It is possible, however, that Wijck was also introduced to alchemical theory and concepts by members of an extended intellectual and professional circle beyond his home city. Wijck encountered alchemy in several distinct yet interconnected frameworks, each with its own set of practices and associations linked to a geographical location—most notably Rome, Naples, and London. Through time spent in Rome and Naples, among communities of artists known for their esoteric practices, Wijck likely became aware of the mystical or occult dimension of alchemical thought. This is demonstrated by The Alchemist and Death (Plate 25), a highly unusual painting in his oeuvre that shares striking connections with Pieter van Laer's occult-inspired Self- Portrait with Magic Scene (Plate 26). In addition, Wijck was surely exposed to new currents in alchemy amongst English elites during the Restoration, as his work for the household of John Maitland, first Duke of Lauderdale, placed him in direct proximity to the alchemy-fascinated circle of Charles II.