Dutch Golden Age painting  

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This later generation, whose work now seems over-refined compared to their predecessors, also painted portraits and histories, and were the most highly regarded and rewarded Dutch painters by the end of the period, whose works were sought after all over Europe. Genre paintings reflected the increasing prosperity of Dutch society, and settings grew steadily more comfortable, opulent and carefully depicted as the century progressed. Artists not part of the Leiden group whose common subjects also were more intimate genre groups included [[Nicolaes Maes]], [[Gerard ter Borch]] and [[Pieter de Hooch]], whose interest in light in interior scenes was shared with [[Jan Vermeer]], long a very obscure figure, but now the most highly regarded genre painter of all. This later generation, whose work now seems over-refined compared to their predecessors, also painted portraits and histories, and were the most highly regarded and rewarded Dutch painters by the end of the period, whose works were sought after all over Europe. Genre paintings reflected the increasing prosperity of Dutch society, and settings grew steadily more comfortable, opulent and carefully depicted as the century progressed. Artists not part of the Leiden group whose common subjects also were more intimate genre groups included [[Nicolaes Maes]], [[Gerard ter Borch]] and [[Pieter de Hooch]], whose interest in light in interior scenes was shared with [[Jan Vermeer]], long a very obscure figure, but now the most highly regarded genre painter of all.
 +== List of painters ==
 +
 +The most famous Dutch painters of the [[17th century]] were:
 +*[[Frans Hals]] (ca. [[1583]]-[[1666]]) portraits, ''schutterstukken'', regent groups, genre pieces (inns, figures)
 +*[[Hendrick Avercamp]] ([[1585]]-[[1634]]) landscapes with snow
 +*[[Hendrick Terbruggen]] ([[1588]]-[[1629]]) historical and biblical paintings
 +*[[Willem Claeszoon Heda]] ([[1594]]-[[1680]]) still lifes
 +*[[Jan van Goyen]] ([[1596]]-[[1656]]) landscapes
 +*[[Pieter Jansz Saenredam]] ([[1597]]-[[1665]]) church interiors, cityscapes
 +*[[Salomon van Ruysdael]] (ca. [[1600]]-[[1670]]) landscapes
 +*[[Adriaen Brouwer]] (ca. [[1605]]-[[1638]]) genre pieces (inns)
 +*[[Rembrandt Harmenszoon van Rijn]] ([[1606]]-[[1669]]) historical and biblical paintings, portraits, ''schutterstukken'', regent groups, genre pieces (figures)
 +*[[Jan Lievens]] ([[1607]]-[[1674]]) historical and biblical paintings, portraits
 +*[[Adriaen van Ostade]] ([[1610]]-[[1684]]) genre scenes of peasant life
 +*[[Willem van de Velde, the elder]] (ca. [[1611]]-[[1693]]) seascapes
 +*[[Bartholomeus van der Helst]] ([[1613]]-[[1670]]) portraits, ''schutterstukken'', regent groups
 +*[[Jan Both]] ([[1615]]-[[1652]]) Italian landscapes
 +*[[Govert Flinck]] ([[1615]]-[[1660]]) historical and biblical paintings, portraits, ''schutterstukken''
 +*[[Ferdinand Bol]] ([[1616]]-[[1680]]) historical and biblical paintings
 +*[[Emanuel de Witte]] (ca. [[1617]]-[[1692]]) church interiors
 +*[[Gerard Terborch]] ([[1617]]-[[1681]]) portraits, genre pieces (family scenes)
 +*[[Philips Wouwermans]] ([[1619]]-[[1668]]) landscapes
 +*[[Albert Cuyp]] ([[1620]]-[[1691]]) Italian and Dutch landscapes
 +*[[Carel Fabritius]] ([[1622]]-[[1654]]) historical and biblical paintings, genre pieces (figures)
 +*[[Paulus Potter]] ([[1625]]-[[1654]]) animals in landscapes
 +*[[Jan Steen]] ([[1626]]-[[1679]]) genre pieces (inns, family scenes)
 +*[[Jacob Isaakszoon van Ruysdael]] (ca. [[1628]]-[[1682]])
 +*[[Gabriel Metsu]] ([[1629]]-[[1667]]) genre pieces (family scenes)
 +*[[Pieter de Hooch]] ([[1629]]-[[1683]]) genre pieces (family scenes)
 +*[[Johannes Vermeer]] ([[1632]]-[[1675]]) cityscapes, genre pieces (family scenes)
 +*[[Nicolaes Maes]] ([[1634]]-[[1693]]) portraits, genre pieces (family scenes, figures)
 +*[[Meindert Hobbema]] ([[1638]]-[[1709]]) landscapes
 +
 +For a more comprehensive listing, see the [[List of Dutch painters#17th Century|List of Dutch painters]]
 +
 +Less famous painters from this period were
 +<small>
 +*[[Cornelis Ketel]] ([[1548]]-[[1616]]) portraits, ''schutterstukken''
 +*[[Hendrik Goltzius]] ([[1558]]-[[1617]]) landscapes
 +*[[Abraham Bloemaert]] ([[1564]]-[[1651]]) historical and biblical paintings, landscapes
 +*[[Michiel Janszoon van Miereveld]] ([[1567]]-[[1641]]) portraits
 +*[[Johannes Anthoniszoon van Ravesteyn]] (ca. [[1570]]-[[1657]]) portraits
 +*[[Ambrosius Bosschaert]] ([[1573]]-[[1621]]) flowers
 +*[[Floris Claeszoon van Dijck]] ([[1575]]-[[1651]]) still lifes
 +*[[Roelant Savery]] ([[1576]]-[[1639]]) landscapes
 +*[[Cornelis van der Voort]] ([[1576]]-[[1624]]) portraits, schuttersstukken
 +*[[Jan Pynas]] (ca. [[1580]]-[[1633]]) historical and biblical paintings
 +*[[Pieter Lastman|Pieter Pieterszoon Lastman]] ([[1583]]-[[1633]]) historical and biblical paintings
 +*[[Johannes Porcellis]] ([[1584]]-[[1632]]) sea sights
 +*[[Cornelis van Poelenburgh]] ([[1586]]-[[1667]]) Italian landscapes
 +*[[Hercules Seghers]] (ca. [[1589]]-[[1638]]) landscapes
 +*[[Gerhard van Honthorst]] ([[1590]]-[[1656]]) historical and biblical paintings, genre pieces (family scenes, figures)
 +*[[Dirck van Baburen]] (ca.[[1590]]-[[1624]]) genre pieces (figures)
 +*[[Cornelis Hendrickszoon Vroom]] (ca. [[1591]]-[[1661]]) sea sights
 +*[[Esayas van der Velde]] (ca. [[1591]]-[[1630]]) landscapes
 +*[[Dirck Hals]] ([[1591]]-[[1656]]) genre pieces (family scenes, figures)
 +*[[Willem Pieterszoon Buytewech]] (ca. [[1591]]-[[1624]]) landscapes, genre pieces (figures)
 +*[[Cornelis van Haarlem|Cornelis Corneliszoon van Haarlem]] ([[1592]] - [[1638]]), portraits, historical and biblical paintings
 +*[[Balthasar van der Ast]] (ca.[[1593]]-[[1657]]) flowers
 +*[[Pieter de Molijn]] ([[1595]]-[[1661]]) landscapes
 +*[[Thomas de Keyser]] (ca. [[1596]]-[[1667]]) portraits, ''schutterstukken''
 +*[[Johannes Corneliszoon Verspronck]] ([[1597]]-[[1662]]) portraits
 +*[[Pieter Claesz]] (ca.[[1597]]-[[1660]]) still lifes
 +*[[Bartholomeus Breenbergh]] ([[1599]]-[[1657]]) Italian landscapes
 +*[[Pieter Franszoon de Grebber]] (ca. [[1600]]-[[1652]]) historical and biblical paintings
 +*[[Gerrit Hoeckgeest]] (ca. [[1600]]-[[1661]]) church interiors
 +*[[Simon de Vlieger]] ([[1601]]-[[1653]]) sea sights
 +*[[Aert van der Neer]] ([[1603]]-[[1677]]) sea sights
 +*[[Christiaen van Couwenbergh]] ([[1604]]-[[1667]]) historical and biblical paintings
 +*[[Jan Davidszoon de Heem]] ([[1606]]-ca.[[1683]]) still lifes
 +*[[Judith Leyster]] ([[1609]]-[[1660]]) genre pieces (figures)
 +*[[Jan Asselyn]] ([[1610]]-[[1652]]) Italian landscapes
 +*[[David Teniers the Younger]] ([[1610]]-[[1690]]) genre pieces (inns)
 +*[[Jan Miense Molenaer]] (ca.[[1610]]-[[1668]]) genre pieces (family scenes)
 +*[[Pieter de Ringh]] ([[1615]]-[[1660]]) stil lives
 +*[[Caesar van Everdingen]] ([[1617]]-[[1678]]) historical and biblical paintings
 +*[[Willem Kalf]] ([[1619]]-[[1693]]) still lifes
 +*[[Philips Koninck]] ([[1619]]-[[1688]]) landscapes
 +*[[Otto Marseus van Schrieck]] (ca.[[1619]]-[[1678]]) flowers
 +*[[Nicolaes Pieterszoon Berchem]] ([[1620]]-[[1683]] Italian landscapes)
 +*[[Abraham van Beyeren]] (ca.[[1620]]-[[1690]]) still lifes
 +*[[Jan Baptist Weenix]] ([[1621]]-[[1663]]) Italian landscapes
 +*[[Gerbrand van den Eeckhout]] ([[1621]]-[[1674]])
 +*[[Karel Dujardin]] ([[1622]]-[[1678]]) Italian landscapes
 +*[[Adam Pynacker]] ([[1622]]-[[1673]]) Italian landscapes
 +*[[Johannes van de Capelle]] ([[1626]]-[[1679]]) seascapes
 +*[[Job Adriaenszoon Berckheyde]] ([[1630]]-[[1693]]) church interiors
 +*[[Willem Drost]], ([[1630]]-[[1680]]), historical and biblical paintings
 +*[[Frederik de Moucheron]] ([[1633]]-[[1686]]) Italian landscapes
 +*[[Jan de Baen]] (1633–1702) portraits
 +*[[Willem van de Velde the younger]] ([[1633]]-[[1707]]) sea sights
 +*[[Frans van Mieris sr.]] ([[1635]]-[[1681]]) genre pieces (family scenes, figures)
 +*[[Adriaen van de Velde]] ([[1636]]-[[1672]]) landscapes
 +*[[Gerrit Adriaenszoon Berckheyde]] ([[1636]]-[[1698]]) cityscapes
 +*[[Jan van der Heyden]] ([[1637]]-[[1712]]) cityscapes
 +*[[Caspar Netscher]] ([[1639]]-[[1684]]) portraits
 +*[[Gerard de Lairesse]], ([[1640]]-[[1711]]), allegorical paintings, portraits, drawings, interiors
 +*[[Gerard de Lairesse]] ([[1641]]-[[1711]]) historical and biblical paintings
 +*[[Aert de Gelder]] ([[1645]]-[[1727]]) historical and biblical paintings
 +*[[Jan van Huysum]] ([[1682]]-[[1749]]) flowers
 +*[[Hendrik Martenszoon Sorgh]] ([[1609]]/[[1611]]—[[1670]])
 +*[[Abraham Danielsz Hondius]] (ca. [[1625]] - [[1695]] ) dogs,hunting scenes and landscapes
 +</small>
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Dutch Golden Age painting was among the most acclaimed in the world at the time, during the 17th century. There was an enormous output of painting, so much so that prices declined seriously during the period. From the 1620s, Dutch painting broke decisively from the Baroque style typified by Rubens in neighbouring Flanders into a more realistic style of depiction, very much concerned with the real world. Types of paintings included historical paintings, portraiture, landscapes and cityscapes, still lifes and genre paintings. In the last four of these categories, Dutch painters established styles upon which art in Europe depended for the next two centuries. Paintings often had a moralistic message hidden under the surface. The Golden Age never really recovered from the French invasion of 1671, although there was a twilight period lasting until about 1710.

Dutch painters, especially in the northern provinces, tried to invoke emotion on the part of the spectator by letting him/her be a bystander on a scene of profound intimacy. Portrait painting thrived in the Netherlands in the 17th century. A great many portraits were commissioned by wealthy individuals. Group portraits similarly were often ordered by prominent members of a city's civilian guard, by boards of trustees and regents, and the like. Often group portraits were paid for by each portrayed person individually. The amount paid determined each person's place in the picture, either head to toe in full regalia in the foreground or face only in the back of the group. Sometimes all group members paid an equal sum, which was likely to lead to quarrels when some members gained a more prominent place in the picture than others. Allegories, in which painted objects conveyed symbolic meaning about the subject, were often applied. Many genre paintings, which seemingly only depicted everyday life, actually illustrated Dutch proverbs and sayings, or conveyed a moralistic message, the meaning of which is not always easy to decipher nowadays. Favourite topics in Dutch landscapes were the dunes along the western sea coast, rivers with their broad adjoining meadows where cattle grazed, often a silhouette of a city in the distance.

Rembrandt had by 1631 established such a good reputation that he received several assignments for portraits from Amsterdam. In about 1640, his work became more sober, reflecting the family tragedies that he had suffered. Exuberance was replaced by deeply felt inner emotions. Biblical scenes were now derived more often from the New Testament instead of the Old Testament. One of his most famous paintings is The Night Watch, which was completed in 1642, at the peak of Holland's golden age. The painting was commissioned to be hung in the banquet hall of the newly built Kloveniersdoelen (Musketeers' Meeting Hall) in Amsterdam.

Johannes Vermeer's works are admired for their transparent colours, careful composition, and brilliant use of light. Vermeer painted mostly domestic interior scenes, and even his two known landscapes are framed with a window. His works are largely genre pieces and portraits, with the exception of two cityscapes. One of his most well known works is Girl with a Pearl Earring

Utrecht School refers to a group of painters active in the city of Utrecht in the Netherlands in the early part of the 17th century. It is part of what is called Baroque. They were all strongly influenced by the then recently deceased Caravaggio, who died in 1610.

The Bamboccianti were a group of Dutch genre painters active in Rome from 1625-1700, during high and late Baroque. The themes of their canvases were typically small parlour paintings or etchings of everyday life, including peasants in picaresque or other scenes of daily life.

Scenes of everyday life

Genre paintings show scenes that prominently feature figures to whom no specific identity can be attached – they are not portraits or intended as historical figures. Together with landscape painting, the development and enormous popularity of genre painting is the most distinctive feature of Dutch painting in this period, although in this case they were also very popular in Flemish painting. Many are single figures, like the Vermeer Milkmaid above; others may show large groups at some social occasion, or crowds. There were a large number of sub-types within the genre: single figures, peasant families, tavern scenes, "merry company" parties, women at work about the house, scenes of village or town festivities (though these were still more common in Flemish painting), market scenes, barracks scenes, scenes with horses or farm animals, in snow, by moonlight, and many more. In fact most of these had specific terms in Dutch, but there was no overall Dutch term equivalent to "genre painting" – until the late 18th century the English often called them "drolleries". Some artists worked mostly within one of these sub-types, especially after about 1625. Over the course of the century, genre paintings tended to reduce in size.

Though genre paintings provide many insights into the daily life of 17th-century citizens of all classes, their accuracy cannot always be taken for granted. Many which seemed only to depict everyday scenes actually illustrated Dutch proverbs and sayings or conveyed a moralistic message – the meaning of which may now need to be deciphered by art historians, though some are clear enough. Many artists, and no doubt purchasers, certainly tried to have things both ways, enjoying the depiction of disorderly households or brothel scenes, while providing a moral interpretation – the works of Jan Steen, whose other profession was as an innkeeper, are an example. The balance between these elements is still debated by art historians today. The titles given later to paintings often distinguish between "taverns" or "inns" and "brothels", but in practice these were very often the same establishments, as many taverns had rooms above or behind set aside for sexual purposes: "Inn in front; brothel behind" was a Dutch proverb. The Steen above is very clearly an exemplum, and though each of the individual components of it is realistically depicted, the overall scene is not a plausible depiction of a real moment; typically of genre painting, it is a situation that is depicted, and satirized.

The Renaissance tradition of recondite emblem books had, in the hands of the 17th-century Dutch – almost universally literate in the vernacular, but mostly without education in the classics – turned into the popularist and highly moralistic works of Jacob Cats, Roemer Visscher, and others, often based in popular proverbs. The illustrations to these are often quoted directly in paintings, and since the start of the 20th century art historians have attached proverbs, sayings and mottoes to a great number of genre works. Another popular source of meaning is visual puns using the great number of Dutch slang terms in the sexual area: the vagina could be represented by a lute (luit) or stocking (kous), and sex by a bird (vogelen), among many other options, and purely visual symbols such as shoes, spouts, and jugs and flagons on their side.

The same painters often painted works in a very different spirit of housewives or other women at rest in the home or at work – they massively outnumber similar treatments of men, in fact working class men going about their jobs are notably absent from Dutch Golden Age art, with landscapes populated by travellers and idlers but rarely tillers of the soil. This group of subjects was a Dutch invention, reflecting the cultural preoccupations of the age, and was to be adopted by artists from other countries, especially France, in the two centuries following.

The tradition developed from the realism and detailed background activity of Early Netherlandish painting, which Hieronymus Bosch and Pieter Bruegel the Elder were among the first to turn into their principal subjects, also making use of proverbs. The Haarlem painters Willem Pieterszoon Buytewech, Frans Hals and Esaias van de Velde were important painters early in the period. Buytewech painted "merry companies" of finely dressed young people, with moralistic significance lurking in the detail. Van de Velde was also important as a landscapist, whose scenes included unglamorous figures very different from those in his genre paintings, typically set at garden parties in country houses. Hals was principally a portraitist, but also painted genre figures of a portrait size early in his career. A stay in Haarlem by the Flemish master of peasant tavern scenes Adriaen Brouwer, from 1625 or 1626 gave Adriaen van Ostade his lifelong subject, though he often took a more sentimental approach. Before Brouwer, peasants had normally been depicted outdoors; he usually shows them in a plain and dim interior, though van Ostade's sometimes occupy ostentatiously decrepit farmhouses of enormous size.

Van Ostade was as likely to paint a single figure as a group, as were the Utrecht Caravaggisti in their genre works, and the single figure, or small groups of two or three became increasingly common, especially those including women and children. The most notable woman artist of the period, Judith Leyster (1609–1660), specialized in these, before her husband, Jan Miense Molenaer, prevailed on her to give up painting. The Leiden school of fijnschilder ("fine painters") were renowned for small and highly finished paintings, many of this type. Leading artists included Gerard Dou, Gabriel Metsu, Frans van Mieris the Elder, and later his son Willem van Mieris, Godfried Schalcken, and Adriaen van der Werff.

This later generation, whose work now seems over-refined compared to their predecessors, also painted portraits and histories, and were the most highly regarded and rewarded Dutch painters by the end of the period, whose works were sought after all over Europe. Genre paintings reflected the increasing prosperity of Dutch society, and settings grew steadily more comfortable, opulent and carefully depicted as the century progressed. Artists not part of the Leiden group whose common subjects also were more intimate genre groups included Nicolaes Maes, Gerard ter Borch and Pieter de Hooch, whose interest in light in interior scenes was shared with Jan Vermeer, long a very obscure figure, but now the most highly regarded genre painter of all.

List of painters

The most famous Dutch painters of the 17th century were:

For a more comprehensive listing, see the List of Dutch painters

Less famous painters from this period were




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