17th Century Dutch Painter - Role and Contribution

(Last Updated On: April 16, 2021)

Some centuries are clearly distinguished that others in all ways. The 17th century is a great century in respect of art culture and civilization. A 17th-century dutch painter was creative, realistic, and a lover of art and culture. After the renaissance, the 17th century was going through a series of development in science and arts. This article will share some thoughts on 17th century Dutch Painter.

17th century Dutch Painter generations

We are indebted to many of the 17th-century painters for their exemplary contribution and effort in the area of arts, culture, and aesthetics. Here is a list of the great 17th Century Dutch Painter sects who played a crucial role in painting, according to Wikipedia.

Aeck, Johannes van der (Leiden 1636 – Leiden 1662)
Aelst, Evert van (Delft 1602 – Delft 1657)
Aelst, Willem van (Delft 1627 – Amsterdam 1683)
Aken, Jan van (Amsterdam 1614/15 – Amsterdam 1661)
Aldewereld, Jan Herman (Amsterdam 1628/29 – Amsterdam 1669)
Angel, Philips (I) (Middelburg 1616 – Middelburg aft. 1683)
Angel, Philips (II) (Leiden c. 1618 – Batavia, Dutch East Indies 1664/65)
Anraedt, Pieter van (Utrecht c. 1635 – Deventer 1678)
Anthonissen, Hendrick van (Amsterdam 1605 – Amsterdam 1656)
Anthonisz, Aert (Antwerp 1579/80 – Amsterdam 1620)
Arentsz, Arent (Amsterdam
Asch, Pieter van (Delft 1603 – Delft 1678)
Asselijn, Jan (Diemen c. 1610 – Amsterdam 1652)
Assteyn, Bartholomeus (Dordrecht 1607 – Dordrecht 1670/77)
Ast, Balthasar van der (Middelburg 1593/94 – Delft 1657)
Avercamp, Barend (Kampen 1612/13 – Kampen 1679)
Avercamp, Hendrick (Amsterdam 1585 – Kampen 1634)

Baburen, Dirck van (Wijk bij Duurstede 1595 – Utrecht 1624)
Backer, Jacob Adriaensz (Harlingen 1608 – Amsterdam 1651)
Backhuizen, Ludolf (Emden 1630 – Amsterdam 1708)
Baen, Jan de (Haarlem 1633 – The Hague 1702)
Bailly, David (Leiden 1584 – Leiden 1657)
Bary, Hendrik (Gouda c. 1640 – Gouda 1707)
Bassen, Bartholomeus van (Antwerp 1590 – The Hague 1652)
Battem, Gerrit (Rotterdam c. 1636 – Rotterdam 1684)
Beck, David (Delft 1621 – The Hague 1656)
Beeck, Johannes van der (Amsterdam 1589 – Amsterdam 1644)
Beecq, Jan Karel Donatus van (Amsterdam 1638 – Amsterdam 1732)
Beelt, Cornelis (Rotterdam c. 1630 – Haarlem or Rotterdam 1702)
Beerstraaten, Jan Abrahamsz (Amsterdam 1622 – Amsterdam 1666)
Bega, Cornelis Pietersz (Haarlem 1632 – Haarlem 1664)
Begeyn, Abraham Jansz (Leiden 1637 – Berlin 1697)
Beijeren, Abraham van (The Hague 1620 – Overschie 1690)
Berchem, Nicolaes Pietersz (Haarlem 1620 – Amsterdam 1683)
Berckheyde, Gerrit Adriaensz (Haarlem 1638 – Haarlem 1698)
Berckheyde, Job Adriaensz (Haarlem 1630 – Haarlem 1693)
Berghe, Christoffel van den (Middelburg 1590 – Middelburg 1645)
Bijlert, Jan van (Utrecht 1597 – Utrecht 1671)
Bisschop, Cornelis (Dordrecht 1630 – Dordrecht 1674)
Bleker, Gerrit Claesz (Haarlem 1593 – Haarlem 1656)
Bloemaert, Abraham (Gorinchem 1566 – Utrecht 1651)
Bloemaert, Cornelis (Utrecht 1603 – Rome 1692)
Bloemaert, Hendrick (Utrecht 1601 – Utrecht 1672)
Bloot, Pieter de (Rotterdam 1601 – Rotterdam 1658)
Bol, Ferdinand (Dordrecht 1616 – Amsterdam 1680)
Bollongier, Hans (Haarlem c. 1600 – Haarlem 1675)
Bor, Paulus (Amersfoort 1601 – Amersfoort 1669)
Borch, Gerard (I) ter (Zwolle 1583 – Zwolle 1662)
Borch, Gerard (II) ter (Zwolle 1617 – Deventer 1681)
Borch, Gesina ter (Zwolle 1633 – Deventer 1690)
Borssom, Anthonie van (Amsterdam 1631 – Amsterdam 1677)
Bosschaert, Abraham (Middelburg 1612 – Utrecht 1643)
Bosschaert, Ambrosius (I) (Antwerp 1573 – The Hague 1621)
Bosschaert, Ambrosius (II) (Utrecht 1609 – Utrecht 1645)
Both, Andries (Utrecht 1612 – Venice 1642)
Both, Jan (Utrecht c. 1614 – Utrecht 1652)
Boursse, Esaias (Amsterdam 1631 – at sea 1672)
Brakenburg, Richard (Haarlem 1650 – Haarlem 1702)
Bramer, Leonard (Delft 1596 – Delft 1674)
Bray, Jan de (Haarlem 1627 – Haarlem 1697)
Bray, Salomon de (Amsterdam 1597 – Haarlem 1664)
Breenbergh, Bartholomeus (Deventer 1598 – Amsterdam 1657)
Brekelenkam, Quiringh van (Zwammerdam 1622 – Leiden 1669)
Broeck, Elias van den (Antwerp 1649 – Amsterdam 1708)
Bronckhorst, Jan Gerritsz van (Utrecht 1603 – Amsterdam 1661)
Brouwer, Adriaen (Oudenaarde 1605 – Antwerp 1638)
Brugghen, Hendrick ter (Utrecht 1588 – Utrecht 1629)
Burgh, Hendrick van der (Naaldwijk 1627 – Leiden? >1666)
Buytewech, Willem Pietersz (Rotterdam 1591 – Rotterdam 1624)

Cabel, Adriaen van der (Rijswijk 1630/31 – Lyon 1705)
Cabel, Arent Arentsz (Amsterdam 1585/86 – Amsterdam 1631)
Call, Jan I van (Nijmegen 1656 – The Hague 1706)
Calraet, Abraham van (Dordrecht 1642 – Dordrecht 1722)
Campen, Jacob van (Haarlem 1596 – Amersfoort 1657)
Camphuysen, Govert Dircksz (Gorinchem 1623 – Amsterdam 1672)
Cappelle, Jan van de (Amsterdam 1626 – Amsterdam 1679)
Carré, Hendrik (Amsterdam 1656 – The Hague 1721)
Carrée, Michiel (The Hague 1657 – Alkmaar1727)
Claesz, Pieter (Berchem 1597/98 – Haarlem 1660)
Claeuw, Jacques de (Dordrecht 1623 – Leiden 1694)
Codde, Pieter (Amsterdam 1599 – Amsterdam 1678)
Collier, Edwaert (Breda 1642 – London 1708)
Colonia, Adam (Rotterdam 1634 – London 1685)
Cooghen, Leendert van der (Haarlem 1632 – Haarlem 1681)
Cool, Jan Daemen (Rotterdam c. 1589 – Rotterdam 1660)
Coorte, Adriaen (IJzendijke 1659/64 – Vlissingen 1707)
Cornelisz, Cornelis (Haarlem 1562 – Haarlem 1638)
Couwenbergh, Christiaen van (Delft 1604 – Cologne 1667)
Crabeth, Wouter Pietersz (II) (Gouda 1594 – Gouda 1644)
Cracht, Tyman Arentsz (Wormer, c. 1600 – The Hauge 1646)
Craen, Laurens (The Hague c. 1620 – Middelburg 1665/70)
Croos, Anthonie Jansz van der (Alkmaar 1606/07 – The Hague 1662/63)
Cuylenborch, Abraham van (Utrecht c. 1620 – Utrecht 1658)
Cuyp, Aelbert (Dordrecht 1620 – Dordrecht 1691)
Cuyp, Benjamin Gerritsz (Dordrecht 1612 – Dordrecht 1652)
Cuyp, Jacob Gerritsz (Dordrecht 1594 – Dordrecht 1652)

Dalens, Dirck (I) (Dordrecht c. 1600 – Zierikzee 1676)
Danckerts, Hendrick (The Hague c. 1625 – Amsterdam 1680)
Danckerts de Rij, Pieter (Amsterdam 1605 – Amsterdam 1660)
Decker, Cornelis Gerritsz (Haarlem? bef. 1618 – Haarlem 1678)
Delen, Dirck van (Heusden 1604/05 – Arnemuiden 1671)
Delff, Cornelis Jacobsz (Gouda 1570/71 – Delft 1643)
Delff, Jacob Willemsz (II) (Delft 1619 – Delft 1661)
Delff, Willem Jacobsz (Delft 1580 – Delft 1638)
Diepenbeeck, Abraham van (Den Bosch 1596 – Antwerp 1675)
Diepraam, Abraham (Rotterdam 1622 – Rotterdam 1670)
Diest, Adriaen van (The Hague 1655 – London 1704)
Diest, Jeronymus van (II) (The Hague 1631 – The Hague aft. 1677)
Diest, Willem van (The Hague c. 1600 – unknown 1668/72)
Dijck, Abraham van (Amsterdam? 1635/36 – Dordrecht 1680)
Dijck, Floris van (Delft 1574/75 – Haarlem 1651)
Does, Jacob van der (Amsterdam 1623 – Sloten, 1673)
Does, Simon van der (The Hague 1653 – Antwerp, aft. 1718))
Donck, Gerard (fl. Amsterdam 1627–1640)
Doomer, Lambert (Amsterdam 1624 – Amsterdam 1700)
Dou, Gerard (Leiden 1613 – Leiden 1675)
Doudijns, Willem (The Hague 1630 – The Hague 1697)
Douven, Jan Frans van (Roermond 1656 – Düsseldorf 1727)
Droochsloot, Cornelis (Utrecht 1640 – Utrecht? aft. 1673)
Droochsloot, Joost Cornelisz (Utrecht 1586 – Utrecht 1666)
Drost, Willem (Amsterdam 1633 – Amsterdam 1659)
Du Bois, Guillam (Haarlem 1625 – Haarlem 1680)
Dubbels, Hendrick Jacobsz (Amsterdam 1621 – Amsterdam 1707)
Dubordieu, Pieter (L’Île-Bouchard 1609 – Amsterdam? >1678)
Duck, Jacob (Utrecht? c.1600 – Utrecht 1667)
Ducq, Johan le (The Hague 1629 – The Hague 1676)
Dujardin, Karel (Amsterdam 1626 – Venice 1678)
Dullaart, Heiman (Rotterdam 1636 – Rotterdam 1684)
Dusart, Cornelis (Haarlem 1660 – Haarlem 1704)
Duyfhuysen, Pieter Jacobsz (Rotterdam 1608 – Rotterdam 1677)
Duynen, Isaac van (Dordrecht 1628 – The Hague 1680)
Duyster, Willem Cornelisz (Amsterdam 1599 – Amsterdam 1635)
Dyck, Floris van (Delft 1574/75 – Haarlem 1651)

E–F

Eckhout, Albert (Groningen c. 1610 – Groningen 1665/66)
Eeckhout, Gerbrand van den (Amsterdam 1621 – Amsterdam 1674)
Egmont, Justus van (Leiden 1601 – Antwerp 1674)
Elinga, Pieter Janssens (Bruges 1623 – Amsterdam 1682)
Engelsz, Cornelis (Gouda 1574/75 – Haarlem 1650)
Esselens, Jacob (Amsterdam 1627/28 – Amsterdam 1687)
Everdingen, Allaert van (Alkmaar 1621 – Amsterdam 1675)
Everdingen, Cesar Boetius van (Alkmaar 1616/17 – Alkmaar 1678)
Eversdijck, Willem (Goes 1616/20 – Middelburg 1671)
Fabritius, Barent (Middenbeemster 1624 – Amsterdam 1673)
Fabritius, Carel (Middenbeemster 1622 – Delft 1654)
Fabritius, Johannes (Middenbeemster 1636 – Hoorn aft. 1693)
Feddes van Harlingen, Pieter (Harlingen c. 1586 – Leeuwarden 1623)
Flinck, Govert (Cleves 1615 – Amsterdam 1660)
Fornenburgh, Jan Baptist van (Antwerp c. 1590 – The Hague 1648)
Fris, Pieter (Amsterdam 1628 – Delft 1706)
Fromantiou, Henri de (Maastricht 1633/34 – Potsdam aft. 1693)
Furnerius, Abraham (Rotterdam 1628 – Rotterdam 1654)

Gael, Barent (Haarlem c. 1630 – Amsterdam 1698)
Gaesbeeck, Adriaen van (Leiden 1621 – Leiden 1650)
Gallis, Pieter (Enkhuizen 1633 – Hoorn 1697)
Geel, Jacob van (Middelburg 1584/85 – Dordrecht? aft. 1638)
Geel, Joost van (Rotterdam 1631 – Rotterdam 1698)
Geest, Wybrand de (Leeuwarden 1592 – Leeuwarden aft. 1661)
Gelder, Aert de (Dordrecht 1645 – Dordrecht 1727)
Gelder, Nicolaes van (Leiden c. 1636 – Amsterdam 1677)
Gherwen, Reynier van (Leiden c. 1620 – Leiden 1662)
Gheyn, Jacques de (II) (Antwerp 1565 – The Hague 1629)
Gheyn, Jacques de (III) (Haarlem or Leiden 1596 – Utrecht 1641)
Gillig, Jacob (Utrecht c. 1636 – Utrecht 1701)
Gillis, Nicolaes (Antwerp 1592/93 – Haarlem aft. 1632)
Giselaer, Nicolaes (Dordrecht 1583 – Utrecht 1647)
Glauber, Diana (Utrecht 1650 – Hamburg aft. 1721)
Glauber, Johannes (Utrecht 1646 – Schoonhoven 1726)
Goderis, Hans (Haarlem 1595/1600 – Haarlem 1656/59)
Goedaert, Johannes (Middelburg 1617 – Middelburg 1668)
Goudt, Hendrick (The Hague c. 1583 – Utrecht 1648)
Goyen, Janvan (Leiden 1596 – The Hague 1656)
Graat, Barend (Amsterdam 1628 – Amsterdam 1709)
Grebber, Frans Pietersz de (Haarlem c. 1573 – Haarlem 1649)
Grebber, Maria de (Haarlem c. 1602 – Enkhuizen 1680)
Grebber, Pieter de (Haarlem c. 1600 – Haarlem 1652/53)
Griffier, Jan (I) (Amsterdam 1645/52 – London 1718)
Groenewegen, Pieter Anthonisz. van (Delft c. 1600 – The Hague 1658)

Haagen, Joris van der (Arnhem 1615 – The Hague 1669)
Haarlem, Cornelis Cornelisz van (Haarlem 1562 – Haarlem 1638)
Hackaert, Jan (Amsterdam 1628 – Amsterdam >1685)
Hals, Dirck (Haarlem 1591 – Haarlem 1656)
Hals, Frans (Antwerp 1582 – Haarlem 1666)
Hanneman, Adriaen (The Hague 1603/4 – The Hague 1671)
Heck, Claes Dirckz van der (Alkmaar c. 1595 – Alkmaar 1649)
Heck, Claes Jacobsz van der (Alkmaar c. 1578 – Alkmaar 1652)
Hecken, Abraham van den (Antwerp c. 1610 – Amsterdam? > 1655)
Heda, Gerret Willemsz (Haarlem c. 1625 – Haarlem 1649)
Heda, Willem Claesz (Haarlem 1594 – Haarlem 1680)
Heem, Cornelis de (Leiden 1631 – Antwerp 1695)
Heem, David Cornelisz de (Antwerp 1663 – The Hague? >1701)
Heem, Jan Davidsz de (Utrecht 1606 – Antwerp 1683)
Heem, Jan Jansz. de (Antwerp 1650 – Antwerp 1695)
Heemskerck, Egbert van (Haarlem 1634 – London 1704)
Helmbreker, Dirk (Haarlem 1633 – Rome 1696)
Helst, Bartholomeus van der (Haarlem 1613 – Amsterdam 1670)
Heusch, Jacob de (Utrecht 1657 – Amsterdam 1701)
Heusch, Willem de (Utrecht 1625 – Utrecht 1692)
Heyden, Jan van der (Gorinchem 1637 – Amsterdam 1712)
Hobbema, Meindert (Amsterdam 1638 – Amsterdam 1709)
Hoet, Gerard (Zaltbommel 1648 – The Hague 1733)
Hondecoeter, Gillis Claesz d’ (Antwerp c. 1575 – Amsterdam 1638)
Hondecoeter, Melchior d’ (Utrecht 1636 – Amsterdam 1695)
Hondius, Abraham (Rotterdam 1625 – London 1691)
Honthorst, Gerard van (Utrecht 1592 – Utrecht 1656)
Hooch, Pieter de (Rotterdam 1629 – Amsterdam 1684)
Hooghe, Romeyn de (Amsterdam 1645 – Haarlem 1708)
Hoogstraten, Samuel van (Dordrecht 1627 – Dordrecht 1678)
Houbraken, Arnold (Dordrecht 1660 – Amsterdam 1719)
Houckgeest, Gerard (The Hague 1600 – Bergen op Zoom 1661)
Huchtenburg, Jan van (Haarlem 1647 – Amsterdam 1733)
Hulst, Frans de (Haarlem c. 1610 – Haarlem 1661)

I–J

Isaacsz, Pieter (Helsingør 1568 – Amsterdam 1625)
Jacobsz, Lambert (Amsterdam c. 1598 – Leeuwarden 1636)
Jacobsze, Juriaen (Hamburg 1624 – Leeuwarden 1685)
Jansz de Stomme, Jan (Franeker 1615 – Groningen 1658)
Jongh, Claude de (Utrecht 1605/06 – Utrecht 1663)
Jongh, Ludolf de (Overschie 1616 – Hillegersberg 1679)
Jonson van Ceulen, Cornelis (London 1593 – Utrecht 1661)
Jouderville, Isaac de (Leiden 1612 – Amsterdam 1645)

Kabel, Adriaen van der (Rijswijk 1630/31 – Lyon 1705)
Kalf, Willem (Rotterdam 1619 – Amsterdam 1693)
Keirincx, Alexander (Antwerp 1600 – Amsterdam 1652)
Kessel, Jan van (Amsterdam 1641 – Amsterdam 1680)
Keyser, Thomas de (Amsterdam 1596 – Amsterdam 1667)
Kick, Cornelis (Amsterdam 1634 – Amsterdam 1681)
Kick, Simon (Delft 1603 – Amsterdam 1652)
Klomp, Albert Jansz (Amsterdam 1625 – Amsterdam 1688)
Knibbergen, Catharina van (fl. The Hague 1634 – 1665)
Knibbergen, François van (The Hague 1596/99 – aft. 1664)
Knijff, Wouter (Wesel 1605/07 – Bergen op Zoom 1694)
Knüpfer, Nicolaes (Leipzig c. 1609 – Utrecht 1655)
Koedijck, Isaac (Amsterdam 1616/17 – Amsterdam 1668)
Koets, Roelof (Haarlem 1592/93 – Haarlem 1654)
Koninck, Philips (Amsterdam 1619 – Amsterdam 1688)
Koninck, Salomon (Amsterdam 1609 – Amsterdam 1656)
Kruys, Cornelis (Haarlem 1619/20 – Schiedam 1660)
Kuijl, Gerard van (Gorinchem 1604 – Gorinchem 1673)

Lachtropius, Nicolaes (Kampen? 1630/40 – Alphen aan den Rijn 1711)
Laer, Pieter van (Haarlem 1599 – unknown, 1642)
Lairesse, Gerard de (Liège 1641 – Amsterdam 1711)
Lastman, Pieter (Amsterdam 1583 – Amsterdam 1633)
Leemans, Anthonie (The Hague 1631 – Amsterdam or Dordrecht 1671/73)
Leemans, Johannes (The Hague c. 1633 – The Hague 1688)
Lely, Peter (Soest 1618 – London 1680)
Leveck, Jacobus (Dordrecht 1634 – Dordrecht 1675)
Lesire, Paulus (Dordrecht 1611 – The Hague? aft. 1656)
Leyster, Judith (Haarlem 1609 – Heemstede 1660)
Liefrinck, Cornelis (Leiden ca. 1581 – unknown, aft. 1652)
Lievens, Jan (Leiden 1607 – Amsterdam 1674)
Lingelbach, Johannes (Frankfurt 1622 – Amsterdam 1674)
Linsen, Jan (Hoorn 1602/03 – Hoorn 1635)
Lisse, Dirck van der (The Hague 1607 – The Hague 1669)
Loo, Jacob van (Sluis 1614 – Paris 1670)
Looten, Jan (Amsterdam 1617/18 – York 1681)
Lorme, Anthonie de (Tournai ca. 1610 – Rotterdam 1673)
Lubieniecki, Christoffel (Szczecin 1658 – Amsterdam 1729)
Lundens, Gerrit (Amsterdam 1622 – Amsterdam 1686)
Luttichuys, Isaack (London 1616 – Amsterdam 1673)
Luttichuys, Simon (London 1610 – Amsterdam 1661)

Maas, Dirk (Haarlem 1659 – Haarlem 1717)
Maddersteeg, Dirk (Enkhuizen 1662 – Berlin 1708)
Maes, Nicolaes (Dordrecht 1634 – Amsterdam 1693)
Man, Cornelis de (Delft 1621 – Delft 1706)
Mancadan, Jacob Sibrandi (Minnertsga 1602 – Tjerkgaast 1680)
Mander, Karel van (II) (Kortrijk 1579/1580 – Delft 1623)
Mander, Karel van (III) (Delft 1609 – Copenhagen 1670)
Marienhof, Aert Jansz (Utrecht 1625/26 – Brussels aft. 1652)
Marseus van Schrieck, Otto (Nijmegen 1619 – Amsterdam 1678)
Martszen de Jonge, Jan (Haarlem 1609/10 – Haarlem 1647)
Matham, Jacob (Haarlem 1571 – Haarlem 1631)
Matham, Jan (Haarlem 1600 – Haarlem 1648)
Meer, Barend van der (Haarlem 1659 – Amsterdam 1692/1702)
Meer, Jan van der (Haarlem 1656 – Haarlem 1705)
Meerhout, Jan (Gorinchem c. 1625 – Amsterdam 1677)
Meijer, Hendrick de (Rotterdam c. 1620 – Rotterdam 1689/98)
Merian, Maria Sibylla (Frankfurt 1647 – Amsterdam 1717)
Mesdach, Salomon (fl. Middelburg 1617 – 1632)
Metsu, Gabriel (Leiden 1629 – Amsterdam 1669)
Meulen, Cornelis van der (Dordrecht 1642 – Stockholm 1691)
Mierevelt, Michiel van (Delft 1566 – Delft 1641)
Mieris, Frans van (I) (Leiden 1635 – Leiden 1681)
Mieris, Jan van (Leiden 1660 – Rome 1690)
Mignon, Abraham (Frankfurt 1640 – Utrecht 1679)
Mijtens, Daniël (I) (Delft c. 1590 – The Hague 1647/48)
Mijtens, Daniël (II) (The Hague 1644 – The Hague 1688)
Mijtens, Johannes (The Hague c. 1614 – The Hague 1670)
Mijtens, Martin (I) (The Hague 1648 – Stockholm 1736)
Moeyaert, Claes Cornelisz (Durgerdam 1591 – Amsterdam 1655)
Molenaer, Jan Miense (Haarlem 1610 – Haarlem 1668)
Molenaer, Klaes (Haarlem 1626/29 – Haarlem 1676)
Molijn, Pieter de (London 1595 – Haarlem 1661)
Mommers, Hendrick (Amsterdam 1620 – Amsterdam 1693)
Moor, Carel de (Leiden 1655 – Warmond 1738)
Moreelse, Johan (Utrecht c. 1600 – Utrecht 1634)
Moreelse, Paulus (Utrecht 1571 – Utrecht 1638)
Mosscher, Jacob van (fl. Haarlem 1635 – 1650)
Moucheron, Frederik de (Emden 1633 – Amsterdam 1686)
Mulier, Pieter (I) (Haarlem c. 1600 – Haarlem 1670)
Mulier, Pieter (II) (Haarlem 1637 – Milan 1701)
Muller, Jan Harmensz (Amsterdam 1571 – Amsterdam 1628)
Murant, Emanuel (Amsterdam 1622 – Leeuwarden aft. 1692)
Musscher, Michiel van (Rotterdam 1645 – Amsterdam 1705)

Naiveu, Matthijs (Leiden 1647 – Amsterdam 1726)
Naiwincx, Herman (Schoonhoven 1623 – Hamburg 1651/55)
Nason, Pieter (Amsterdam 1612 – The Hague 1688/90)
Neck, Jan van (Naarden 1634/35 – Amsterdam 1714)
Neer, Aert van der (Gorinchem 1603/04 – Amsterdam 1677)
Neer, Eglon van der (Amsterdam 1635/36 – Düsseldorf 1703)
Netscher, Caspar (Heidelberg or Prague c. 1636 – The Hague 1684)
Neyn, Pieter de (Leiden 1597 – Leiden 1639)
Nieulandt, Adriaen van (Antwerp 1586/87 – Amsterdam 1658)
Nieulandt, Willem van (II) (Antwerp 1583/84 – Amsterdam 1635)
Nooms, Reinier (Amsterdam 1623/24 – Amsterdam 1664)
Noordt, Jan van (Schagen 1623/24 – aft. 1676)
Noort, Pieter van (Leiden 1623 – Zwolle 1672)

Ochtervelt, Jacob (Rotterdam 1634 – Amsterdam 1682)
Oever, Hendrik ten (Zwolle 1639 – Zwolle 1716)
Olis, Jan (Gorinchem c. 1610 – Heusden 1676)
Oosterwijck, Maria van (Nootdorp 1630 – Uitdam 1693)
Oostvries, Catharina (Nieuwkoop 1636/38 – Alkmaar 1708)
Ostade, Adriaen van (Haarlem 1610 – Haarlem 1685)
Ostade, Isaac van (Haarlem 1621 – Haarlem 1649)
Ovens, Jurriaen (Taning 1623 – Frederiksstad 1678)

P–Q

Palamedesz, Anthonie (Leith 1602 – Amsterdam 1673)
Palamedesz, Palamedes (Leith 1605 – Delft 1638)
Peschier, N.L. (Ardèche bef. 1640 – Leiden? aft. 1661)
Pickenoy, Nicolaes Eliasz (Amsterdam 1588 – Amsterdam 1650/56)
Pierson, Christoffel (The Hague 1631 – Gouda 1714
Pijnacker, Adam (Schiedam 1622 – Amsterdam 1673)
Plas, David van der (Amsterdam 1647 – Amsterdam 1704)
Pluym, Karel van der (Leiden 1625 – Leiden 1672)
Poel, Egbert Lievensz van der (Delft 1621 – Rotterdam 1664)
Poelenburch, Cornelis van (Utrecht 1594 – Utrecht 1667)
Poorter, Willem de (Haarlem 1608 – Haarlem? aft. 1648)
Porcellis, Jan (Ghent 1584 – Zoeterwoude 1632)
Porcellis, Julius (Rotterdam c. 1610 – Leiden 1645)
Post, Frans Jansz (Haarlem 1612 – Haarlem 1680)
Post, Pieter Jansz (Haarlem 1608 – The Hague 1669)
Pot, Hendrik Gerritsz (Amsterdam c. 1580 – Amsterdam 1657)
Potter, Paulus (Enkhuizen 1625 – Amsterdam 1654)
Potter, Pieter Symonsz (Enkhuizen 1597/1600 – Amsterdam 1652)
Pynas, Jacob Symonsz (Haarlem or Amsterdam 1592/93 – Delft c. 1650)
Pynas, Jan Symonsz (Alkmaar 1581 – Amsterdam 1631)
Quast, Pieter Jansz (Amsterdam 1605/06 – Amsterdam 1647)

Constantijn à Renesse, 1653

Ravesteyn, Arnold van (The Hague c. 1605 – The Hague 1690)
Ravesteyn, Hubert van (Dordrecht 1638 – Dordrecht 1683/91)
Ravesteyn, Jan van (The Hague c. 1572 – The Hague 1657)
Van Rijn, Rembrandt (Leiden 1606 – Amsterdam 1669)
Renesse, Constantijn à (Maarssen 1626 – Eindhoven 1680)
Rietschoof, Jan Claesz (Hoorn 1652 – Hoorn 1719)
Rijck, Pieter Cornelisz van (Delft 1567/68 – Italy aft. 1635
Ring, Pieter de (Ieper c. 1615 – Leiden 1660)
Roestraten, Pieter Gerritsz van (Haarlem 1630 London 1700)
Roghman, Roelant (Amsterdam 1627 – Amsterdam 1692)
Rombouts, Gillis (Haarlem 1631 – Haarlem 1672)
Rombouts, Salomon (Haarlem 1655 – Florence? 1690/1702)
Romeyn, Willem (Haarlem c. 1624 – Haarlem 1694)
Rotius, Jacob (Hoorn 1644 – Hoorn 1681/82)
Rotius, Jan Albertsz (Medemblik 1624 – Hoorn 1666)
Royen, Willem Frederiksz van (Haarlem c. 1645 – Berlin 1723)
Ruisdael, Isaack van (Naarden 1599 – Haarlem 1677)
Ruisdael, Jacob van (Haarlem 1629 – Haarlem 1682)
Ruysch, Anna (The Hague 1666 – Amsterdam 1741)
Ruysch, Rachel (The Hague 1664 – Amsterdam 1750)
Ruysdael, Salomon van (Naarden 1600/03 – Haarlem 1670)

Saenredam, Pieter Jansz (Assendelft 1597 – Haarlem 1665)
Saftleven, Cornelis (Gorinchem 1607 – Rotterdam 1681)
Saftleven, Herman (Rotterdam c. 1609 – Utrecht 1685)
Sailmaker, Isaac (Scheveningen 1633 – London 1721)
Salm, Adriaen van (Delfshaven c. 1660 – Delfshaven 1720)
Santvoort, Dirck Dircksz van (Amsterdam 1609 – Amsterdam 1680)
Savery, Roelant (Kortrijk 1576 – Utrecht 1639)
Schaeyenborgh, Pieter van (Antwerp 1600 – Alkmaar 1657)
Schalcken, Godfried (Made 1643 – The Hague 1706)
Schalcken, Maria (Dordrecht 1645 – Dordrecht 1699)
Schellinks, Willem (Amsterdam 1623 – Amsterdam 1678)
Schooten, Floris van (Schoten? 1585/88 – Haarlem 1656)
Schooten, Joris van (Leiden c. 1587 – Leiden 1651)
Schrieck, Otto Marseus van (Nijmegen 1619 – Amsterdam 1678)
Schuer, Theodor van der (The Hague 1634 – The Hague 1707)
Schurman, Anna Maria van (Cologne 1607 – Wieuwerd 1678)
Seghers, Hercules (Haarlem 1589/90 – The Hague 1638)
Slingeland, Cornelis van (Dordrecht c. 1635 – Dordrecht 1686)
Slingelandt, Pieter Cornelisz van (Leiden 1640 – Leiden 1691)
Snellinck, Cornelis] (Rotterdam or Antwerp c. 1605 – Rotterdam 1669)
Soest, Gerard (Soest 1600 – London 1681)
Soest, Pieter Cornelisz van (fl. Amsterdam 1642–1667)
Sorgh, Hendrick Martensz (Rotterdam 1610/11 – Rotterdam 1670)
Soutman, Pieter (Haarlem 1593/1601 – Haarlem 1657)
Spelt, Adriaen van der (Leiden 1630/31 – Gouda 1673)
Spilberg, Adriana (Amsterdam 1652 – Düsseldorf 1700)
Staveren, Jan Adriaensz van (Leiden 1613/14 – Leiden 1669)
Steen, Jan Havicksz (Leiden 1626 – Leiden 1679)
Steenwijck, Harmen (Delft c. 1612 – Delft? aft. 1656)
Steenwijck, Pieter (Delft c. 1615 – aft. 1656)
Steenwijck, Hendrik II van (Antwerp 1580 – The Hague 1649)
Steenwijck, Susanna van (London aft. 1602 – Amsterdam 1664)
Stom, Matthias (Amersfoort 1600 – Sicilia >1652)
Stoop, Dirck (Utrecht c. 1618 – Utrecht or Hamburg aft. 1681)
Storck, Abraham (Amsterdam 1644 – Amsterdam 1708)
Storck, Jacobus (Amsterdam 1641 – Amsterdam 1692)
Streeck, Hendrick van (Amsterdam 1659 – Amsterdam 1720)
Streeck, Juriaen Hendricksz van (Amsterdam 1632 – Amsterdam 1687)
Striep, Christiaen (Den Bosch 1634 – Amsterdam 1673)
Stuven, Ernst (Hamburg c. 1657 – Rotterdam 1712)
Susenier, Abraham (Leiden c. 1620 – Dordrecht 1672)
Swanenburg, Jacob Isaacsz van (Leiden 1571 – Utrecht 1638)
Swanevelt, Herman van (Woerden 1603 – Paris 1655)

T–U

Tempel, Abraham van den (Leeuwarden 1622 – Amsterdam 1672)
Tengnagel, Jan (Amsterdam 1584 – Amsterdam 1635)
Terborch, Gerard (II) (Zwolle 1617 – Deventer 1681)
Terbrugghen, Hendrick (Utrecht 1588 – Utrecht 1629)
Terwesten, Augustinus (The Hague 1649 – Berlin 1711)
Teyler, Johan (Nijmegen 1648 – Nijmegen, c. 1709)
Thopas, Jan (Arnhem 1625/27 – Assendelft or Westzaandam 1688/95)
Thulden, Theodoor van (Den Bosch 1606 – Den Bosch 1669)
Tol, Domenicus van (Bodegraven c. 1635 – Leiden 1676)
Toorenvliet, Jacob (Leiden 1640 – Oegstgeest 1719)
Torrentius, Johannes (Amsterdam 1589 – Amsterdam 1644)
Treck, Jan (Amsterdam 1605/06 – Amsterdam 1652)
Troyen, Rombout van (Amsterdam 1605 – Amsterdam aft. 1657)
Ulft, Jacob van der (Gorinchem 1627 – Noordwijk 1690)
Uyl, Jan den (Kampen? 1596 – Amsterdam 1639)
Uyttenbroeck, Moses van (The Hague c. 1595 – The Hague 1647)

Vaillant, Bernard (Lille 1632 – Leiden 1677)
Vaillant, Jacques (Amsterdam 1643 – Berlin 1691)
Vaillant, Wallerant (Lille 1623 – Amsterdam 1677)
Valckert, Werner van den (THe Hague? c. 1580 – Delft? 1644?)
Veen, Otto van (Leiden 1556 – Brussels 1629)
Velde, Adriaen van de (Amsterdam 1636 – Amsterdam 1672)
Velde, Esaias van de (Amsterdam 1587 – The Hague 1630)
Velde, Jan (II) van de (Rotterdam or Delft 1593 – Enkhuizen 1641)
Velde, Jan Jansz (III) van de (Haarlem 1620 – Enkhuizen 1662)
Velde, Willem (I) van de (Leiden 1611 – Greenwich 1693)
Velde, Willem (II) van de (Leiden 1633 – London 1707)
Velsen, Jacob Jansz van (Delft c. 1597 – Amsterdam 1656)
Venne, Adriaen van de (Delft c. 1588 – The Hague 1662)
Verbeeck, Cornelis (Amsterdam? 1585/92 – Haarlem aft. 1637)
Verbeeck, Pieter Cornelisz (Haarlem c. 1600 – Haarlem c. 1653)
Verboom, Adriaen Hendriksz (Rotterdam 1627 – Rotterdam 1673)
Verelst, Herman (Dordrecht 1641 – London 1702)
Verelst, Pieter Hermansz (Dordrecht c. 1618 – Hulst? c. 1678)
Verelst, Simon Pietersz (The Hague 1644 – London 1721)
Verkolje, Jan (Amsterdam 1650 – Delft 1693)
Vermeer, Johannes (Delft 1632 – Delft 1675)
Vermeer van Haarlem, Jan (I) (Haarlem 1628 – Haarlem 1691)
Vermeer van Haarlem, Jan (II) (Haarlem 1656 – Haarlem 1705)
Vermeer van Utrecht (Schipluiden 1630 – Vreeswijk 1695/97)
Verschuier, Lieve (Rotterdam 1627 – Rotterdam 1686)
Verschuring, Hendrick (Gorinchem 1627 – Dordrecht 1690)
Verspronck, Johannes Cornelisz (Haarlem 1600/03 – Haarlem 1662)
Verstraelen, Anthonie (Gorinchem 1594 – Amsterdam 1641)
Vertangen, Daniel (The Hague c. 1630 – Amsterdam 1681)
Verwer, Abraham de (Haarlem c. 1585 – Amsterdam 1650)
Verwer, Justus de (Amsterdam 1625 – Amsterdam 1689)
Verwilt, François (Rotterdam 1620/23 – Rotterdam 1691)
Verzijl, Jan Franse (Gouda 1602/03 – Gouda 1647)
Veth, Jan Damesz de (Gouda c. 1595 – Gouda 1625)
Victors, Jan (Amsterdam 1619 – Java or Moluccas 1676)
Vinckboons, David (Mechelen 1576 – Amsterdam 1631/32)
Vingboons, Johannes (Amsterdam 1616/17 – Amsterdam 1670)
Vinne, Vincent van der (Haarlem 1628 – Haarlem 1702)
Visscher, Cornelis (Haarlem 1628 – Amsterdam 1658)
Vlieger, Simon de (Rotterdam 1600/1 – Weesp 1653)
Vliet, Hendrick Cornelisz van (Delft 1611/12 – Delft 1675)
Vliet, Willem van der (Delft c. 1584 – Delft 1642)
Vois, Ary de (Utrecht 1632/34 – Leiden 1680)
Vonck, Elias (Amsterdam c. 1605 – Amsterdam 1652)
Vonck, Jan (Toruń 1631 – Amsterdam 1664)
Voorhout, Johannes (Uithoorn 1647 – Amsterdam 1717)
Voort, Cornelis van der (Antwerp 1576 – Amsterdam 1624)
Vos, Cornelis de (Hulst 1584 – Antwerp 1651)
Voskuijl, Huijgh Pietersz (Amsterdam 1591 – Amsterdam 1665)
Vosmaer, Daniël (Delft 1622 – Den Briel 1666/70)
Vosmaer, Jacob (Delft c. 1580 – Delft 1641)
Vrel, Jacob (fl. Delft and Haarlem 1654-1662)
Vries, Abraham de (The Hague c. 1590 – The Hague 1649/50)
Vries, Roelof Jansz van (Haarlem 1630/31 – Amsterdam aft. 1681)
Vrije, Adriaan Gerritsz de (Gouda c. 1570 – Gouda 1643)
Vroom, Cornelis Hendriksz (Haarlem or Danzig 1590/91 – Haarlem 1661)
Vroom, Hendrik Cornelisz (Haarlem 1562/63 – Haarlem 1640)

Waben, Jacques (Alkmaar 1584/86 – Hoorn 1641/42)
Walscapelle, Jacob van (Dordrecht 1644 – Amsterdam 1727)
Waterloo, Anthonie (Lille 1609 – Utrecht 1690)
Weenix, Jan (Amsterdam 1642 – Amsterdam 1719)
Weenix, Jan Baptist (Amsterdam 1621 – Vleuten 1659)
Werff, Adriaen van der (Kralingen 1659 – Rotterdam 1722)
Werff, Pieter van der (Kralingen 1665 – Rotterdam 1722)
Wet, Jacob de (Haarlem c. 1610 – Haarlem or Cologne aft. 1677)
Wet, Jacob Jacobsz de (Haarlem 1641/42 – Amsterdam 1697)
Wieringen, Cornelis Claesz van (Haarlem 1575/76 – Haarlem 1633)
Wijck, Thomas (Beverwijk c. 1620 – Haarlem 1677)
Wijckersloot, Jan van (Utrecht 1625/30 – Amsterdam 1687)
Wijnants, Jan (Haarlem 1632 – Amsterdam 1684)
Wijtmans, Mattheus (Den Bosch 1638 – Utrecht 1689
Willaerts, Abraham (Utrecht 1607/13 – Utrecht 1669)
Willaerts, Adam (London 1577 – Utrecht 1664)
Willingh, Nicolaes (The Hague 1638/40 – Berlin 1678)
Wissing, Willem (Amsterdam c. 1656 – Stamford, Lincolnshire 1687)
Withoos, Alida (Amersfoort 1659/60 – Hoorn 1730)
Withoos, Matthias (Amersfoort 1627 – Hoorn 1703)
Withoos, Pieter (Amersfoort 1655 – Amsterdam 1692)
Witte, Emanuel de (Alkmaar 1617 – Amsterdam 1692)
Wittel, Caspar van (Amersfoort 1652/56 – Rome 1736)
Wolfsen, Aleijda (Zwolle 1648 – Zwolle 1692)
Wouwerman, Jan (Haarlem 1629 – Haarlem 1666)
Wouwerman, Philips (Haarlem 1619 – Haarlem 1668)
Wouwerman, Pieter (Haarlem 1623 – Amsterdam 1682)
Wtenbrouck, Moyses van (The Hague c. 1595 – The Hague 1647)
Wtewael, Joachim (Utrecht 1566 – Utrecht 1638)
Wtewael, Peter (Utrecht 1596 – Utrecht 1660)
Wyck, Jan (Haarlem 1644/45 or 1652 – Mortlake 1702)

X–Z

Zeelander, Pieter de (Haarlem bef. 1620 – aft. 1648)
Zeeman, Reinier (Amsterdam 1623/24 – Amsterdam 1664)
Zijl, Gerard Pietersz van (Leiden 1607/08 – Amsterdam 1665)

Dutch Golden Age painting

The list of dutch paintings is not a few. Dutch Golden Age is a painting expanded throughout the 17th century of Dutch history, during and after the later part of the eighty-year war for Dutch independence (1568–1648).

Europe was thriving at that time. As per the source, the new Dutch Republic was Europe’s most prosperous country and led European trade, science, and industry. The new Netherlands, which formed the northern Netherlands, was traditionally a less important artistic center than southern Flanders.

Series of wars and the rise of the population were going on hand in hand. The rise and the massive transfer of war populations, and the sharp break with the old monarchist and Catholic cultural traditions, meant that Dutch art had to rediscover itself. Images of religious affairs were sharply reduced, but a whole new market for secular issues of all kinds were growing.

People at that time were very much fond of many adorable paintings. The Golden Age of Dutch sketches Baroque paintings of the European period was included and often features several shows, most of the neighbors phlyandarsa including many Baroque works ideology and ideals of love, lack of most of the work, the time for which the most familiar, early nedaralyandisa painting, inherited the broad realities of the traditions of the Hyake reflects.

The impact of renaissance was continuing n lifestyle of people. Frances Hals’s Troni, next with the title Gypsy Girl. 1628-30 was a great 17th century Dutch Painter. Oil on wood, 58 cm × 52 cm (23 in. 20 in). The troni includes elements of paintings, genre paintings, and sometimes history paintings

Every era has ist own, unique features, significance, and traits. A distinctive feature of this period is the proliferation of individual genres of painting, most artists in which one of them creates much of their artwork.

The development and growth did come in a day. The full development of this specialization is seen from the late 1620s, and from then until the period of the French invasion of 1672, it is the focus of the painting of the golden age.

Earning money and living was as usual a great concern for people in any legit form. Artists often for the most part of their careers painted only portraits, house scenes, landscapes, beaches, and ships, or still lives and often a specific subtype within these categories.

Innovation and creativity were on the practice. Many of these types of issues were new to Western images, and the way the Dutch dealt with them during this period was crucial to their future development. It was a great move for a 17th century Dutch Painter.

Type of Art and portraits

Every era has a distinguished type or theme based on which the art, and culture rotate around. A distinctive feature of this period was the limited number of religious paintings compared to previous European paintings. Dutch Calvinism forbade painting of churches in churches, and while biblical subjects were acceptable in private homes, they were rarely made.

The Dutch painters were very promising and advanced. Other traditional animation classes and portrait paintings were present in the history, but the time is more significant for other types of varieties, peasant life, landscapes, townscapes, landscapes with animals, numerous special categories like beach paintings for painting, flower paintings, and still different types of life. The artists and painters worked on diversified issues.

The development of many of these national paintings was decidedly influenced by 17th-century Dutch artists. The next generation was influenced by them too.

The world of art

People and audiences were appreciating the progress. Foreigners commented on a large number of art-produced and large fairs where many paintings were sold – it is estimated that 1.5 million Dutch paintings were painted in 20 years after 1640 alone.

There were several factors that a painter would be keeping in mind. Production means that prices are fairly low, except for the best-known artists; There was a steep price gradient for more fashionable artists in the aftermath, who did not have a contemporary reputation, or who were shunned by fashion, many of whom are now considered in their late years as the best of the time, like Vermeer, Frances Hals, and Rembrandt, among others.

There were enough problems in life and the poor died; Many artists had other works or abandoned art altogether. The French invasion particular brought severe disappointment to the industrial market, which never returned to its previous heights.

The distribution of the pictures was very broad: “Yes many times, lumber, mustaches. At their forge and they will have some pictures or other pictures in their stalls. Such general ideas, adjuncts, and delights for this country-native painting” reported an English traveler in 1640.

Virtually for the first time many professional art dealers, such as Vermeer and his father Jan van Gogh and Willem Calaf, were several notable artists. The most important was the Rembrandt dealer Hendrick van Eulenberg and his son Gerrit.

According to Samuel van Hogstretten, landscapes were the easiest distributive work and their painters were “ordinary footsteps in the army of art.”

History painting

This section contains not only paintings depicting historical events of the past but also paintings of biblical, mythological, literary, and figurative scenes.

Recent historical events have largely gone out of the category and were treated in a realistic fashion as a suitable combination of portraits of marine, townscape or landscape subjects.

Was not and a few big honorable baroque The house was not full. More than that, the Protestant peoples of the big cities faced the use of some significant conspiracies of the Mannerist myth in Habsburg’s unsuccessful propaganda during the Dutch uprising, which provoked sharp reactions to realism and distrusted the noble view.

History painting was now a “minority art”, though to a lesser extent prevented by the comparative interest of print editions of history issues.

Dutch painters continued to be influenced by Italian painting more than any other type of painting. Prints and copies of Italian masterpieces were promoted and advised on specific compositional plans.

The increasing Dutch skill in painting illustrations was carried on in styles such as those from Italy, such as Calvaggio.

Some Dutch painters also traveled to Italy, though very little in comparison to their Flemish contemporaries, as can be seen from the membership of the Bentvagels Club in Rome.

Many Northern Mannerist artists with style in the previous century continued to work in the early 1630s, in the case of a great 17th century Dutch Painter like Abraham Blimmert or Joachim Wetwell.

Caravaggio (both died) with German painter (based on Rome) Adam Elsheimer on the Dutch painters such as Peter Lastman, Master of the Rembrandt, and Jane and Jacob Pinas.

Compared to images of Baroque history in other countries, they share the Dutch emphasis on realism and the directness of narrative and sometimes called the “pre-Rembrandtist” because the early Rembrandt paintings were in this style.

Photography

Portrait painting flourished in the Netherlands in the 17th century, as there was a large merchant class who was much more prepared to a portrait than other countries; Summary of various estimates of total production reaches 750,000 to 1,100,000 portraits.

As a young portrait artist in Amsterdam, Ram brand enjoyed the longest time of his financial success, but, like other artists, became bored with portraits of thieves: “According to Van Mander,” artists are on the road Travel without joy. “

Although Dutch portraiture avoids the weird exaggeration and excessive talk of the elite Baroque portrait of the rest of 17th-century Europe, menswear, and, in many cases, female sitters and Calvinists, seem to include props, possessions, or visions. This was a great move for a 17th century Dutch Painter.

The land in the background shows the sin of pride that for all their technical quality leads to unacceptable equality in many Dutch portraits. Even permanent postures are usually avoided, as a full length can also show pride.

Positions are unnecessary, especially for women, though children may be allowed more freedom. The classic moment for painting a wedding is when the new husband and wife often do not occupy a separate frame in a pair of paintings.

Rembrandt’s later paintings emphasize characterization, and sometimes a narrative element, but even his early portraits can disperse the message, as it does in the orbit of the ‘Starter Rembrandt’ donated to the Metropolitan Museum of Art in New York. It was a great contribution to a 17th century Dutch Painter.

From what we know of the studio method of artists, it seems, as elsewhere in Europe, that it was probably drawn or painted in one of the first. The general number of more seats is unclear – between zero (for one full length) and 50 are documented.

The clothes were left in the studio and may have been painted by assistants or any brought-in specialist master, though or because they were considered an extremely important part of the painting.

Married and unmarried women can be distinguished by their clothing, highlighting how few unmarried women were painted except family groups.

The precision of the clothes displayed elsewhere was variable – striped and patterned dresses, but artists rarely Apparently, extra work was avoided. Lace and rough collars were inevitable, and cheetahs.

Abhiprayamulaka is unable to provide a challenge to the reality of the present. To illustrate the pattern, Rembrandt developed a more effective method of painting patterned lace, casting broad white stokes, and then painting lightly in black.

Another way to do this is to paint white on a black layer and scratch the white with the end of the brush to show the pattern.

At the turn of the century, it was fashionable to show people sitting in a semi-fancy garment, beginning in the 1630s in Van Dyke in England, known as “painter” or “Roman” clothing, elite and militia, sitter than bright clothing and thieves. It was a great move for a 17th century Dutch Painter.

The broader format allowed itself more freedom, and religious relations probably influenced many depicted.

At the turn of the century, prices in the aristocracy or French spread among the snatchers, and the imagery was allowed more freedom and display.

Views of everyday life

The arts and paintings depict the life and work of people. General paintings feature scenes that feature images to which no specific identity can be attached – they are not portraits or intended as historical paintings.

The development and immense popularity of genre painting with landscape painting are the most distinctive features of Dutch paintings during this period, although in this case, they were also very popular in Flemish painting.

Many like Vermeer’s The Milkmaid are single figures; Others can show up at a social event or at a large party.

There was variation in paintings. There were a lot of sub-types in the genre: single figures, peasant families, drunken scenes, “merry company” parties, women working at home, scenes in the village or town (though these were still more depicted in the Flemish), market scenes, barracks scenes, Scenes with horses or farm animals in the snow, moonlight and more. It was a great move for a 17th century Dutch Painter.

The painters had not professional learning or training. They used their creativity and senses. In fact, most of them had specific terms in Dutch, but there was no Dutch word equivalent to “genre painting” – until the end of the 18th century, English was often referred to as “drillery”.

Some artists originally worked within this subtype, especially after about 1625. Throughout the centuries, genre paintings continued to decrease in size.

Painter too was inspired by the impact of the renaissance. The tradition of the Renaissance Book Revival was in the hands of 17th-century Dutch – almost universally educated, but mostly without the study of classics – turned into Jacob Cat, Roma’s Vulture and ultimate moralist, and others, often based on popular proverbs.

Their paintings are often quoted directly in the paintings, and since the beginning of the 20th century, art historians have linked a number of genres of proverbs, speeches, and proverbs.

Another popular source of money is visual punctuation that uses a lot of Dutch slang words in the sexual area: the vagina can be represented by booty (lute) or stocking (kos) and can be sexually combined by a bird (Vogellen), among many other options, And for them purely visual symbols such as shoes, spouts and jugs and flags.

Landscape and cityscape

Landscape painting was a major 17th-century house. The Flemish landscapes of the 16th century (especially from Antwerp) served as the first example. This was a successful example to many of the contemporary artists.

These were not particularly realistic, most were painted in the studio, some even out of imagination and often still using a semi-aerial view from the aforementioned Netherlands landscape painting in Joachim Pattinar’s “World Landscape” tradition, with Harry met with Blaise and the beginner Peter Eluer the Peter Brue. It was a great incidence for a 17th century Dutch Painter.

The development of a more realistic Dutch landscape style, based on paintings drawn often from the ground level to the outside, shows that often the impressive cloud formations (and this) in the climate of the region made it possible to emphasize very generally and which shed a certain light.

Favorite points are the terraces along the western seaboard, rivers with their wide adjacent pastures where cattle graze, often with distant silhouettes of a city, along with frosty canals and creeks.

The sea was a favorite subject, as the lower countries depended on it for trade, fought it for new lands, and fought against competing countries.

Marine painting

The Dutch Republic relied on sea trade for its extraordinary wealth, during which time Britain and other nations were at war and were cross-border with rivers and canals.

It is not surprising, therefore, that the maritime painting house was very popular, and was taken to a new height in the period by Dutch artists. It was a great move for a 17th century Dutch Painter.

As with landscapes, moving from the normally artificial elevated view of eastern marine painting was an important step sea war pictures told the story of a Dutch navy at the peak of its glory.

However, it is currently the most tranquil scene that is highly speculated. The ships are usually at sea and the views of the dock are surprisingly absent.

More often than not, smaller ships also fly in the Dutch Tricolow, and many sailings can be identified as navigable or one of many other public ships.

Many of the pictures included some landscapes, beaches, or harbor viewpoints or views across an estuary.

Other artists specialize in river views, from small pictures of Solomon van Ruesdale with small boats and reed-boats to the huge Italian landscapes of the Wilbert Quip, where the sun usually passes over a wide river.

It was a great move for a 17th century Dutch Painter. Zena naturally shared a lot with landscape painting, and the two went together in the development of sky painting; Many landscape artists also paint beaches and river scenes.

Artists included Jean Porcelli’s, Simon de Vliger, Jan van de Capel, Hendrick Doubles, and Abraham Stork.

Willem van de Velde Elder and his son, the leading masters of the following decades, were training the ship to build the contents at the turn of the century, where the main tasks of the previous decades were to emphasize the sea and the weather.

Ludolf Bachhuizen, a leading German artist, left London in 1672, leaving behind a heavy sea captain.

Still life

Still Life was a great opportunity to showcase the skill in painting textures and surfaces with great detail and the light effect of the real.

All kinds of food on a table, silver cutlery, intricate structures and fine folds in table cloths and all the challenging painter flowers

A variety of topics were recognized: Banquez was a “piece of deer”, Ontbizetz’s simple “breakfast piece” was a moralist message throughout virtually all life, usually about the bust of life – also known as the vanity theme – implicit in the absence of a clear symbol like a skull.

Or, less clearly as a half-crushed lemon, such as life, sweet in appearance but bitter in taste. Fu And the loss of food and money will not benefit any soul. It was a great move for a 17th century Dutch Painter.

Nevertheless, the force of this message appears to be less powerful in more expansive parts of the second half of the century. The curiosity was mounting.

Foreign lands

All the arts turned classics. For Dutch artists, Keller van Mander’s Schilderbock was meant not only as a list of biographies, but also a source of advice for young artists.

It quickly became a classic standard work for generations of young Dutch and Flemish artists in the 17th century.

The book advised artists to travel and visit the sights of Florence and Rome, and many did so after 1604.

It is worth noting, however, that in most respects Dutch artists, like Rembrandt, Vermeer, Hals, Steen, Jacob van Rooisdell, and others, did not travel.

The queue of the painters was not littile. Many Dutch (and Flemish) painters worked abroad or exported their work; Printmaking was also an important export market, by which Rembrandt was known throughout Europe.

The Dutch gift to Charles II of England was a diplomatic gift that included four contemporary Dutch paintings.

The English painting relied heavily on Dutch painters, Sir Peter Lyle was then Sir Godfrey Kanler and developed the English portrait style established by Flemish Anthony van Dyke before the English Civil War.

Among the many artists who left Holland in the French aggression were marine painter Van der Veld, father and son, which led to a decline in the art market.

They also moved to London, and English landscape paintings were founded by a few well-known Dutch painters, such as Hendrik Duncarts.

Next reputation

Art and painting go beyond the generation, life, imagination, time, and boundary. The great success of 17th-century Dutch paintings reinforced the work of the next generation, and no Dutch painter of the 18th century or immediate Van Gogh was well-known outside the Netherlands in the 19th century.

Already at the end of the period, artists were complaining that consumers were more interested in the dead than the living artists. It was a great move for a 17th century Dutch Painter.

If only because of the large volume produced, Dutch Golden Age painting always constitutes a significant part of the collection of Old Master paintings, a term invented in the 18th century to describe the Dutch Golden Age artists themselves.

Accepting only Woman’s paintings in the old royal collections, there are more than 60 in Dresden and over 50 in Hermitage but the fame of this period has shown many changes and changes in emphasis.

One almost constant factor has been praising Rembrandt, especially since the romantic times. Other artists have shown drastic changes in the fate of the critics and market prices.

At the end of the period, some active Leyden fantasy children had great fame, but since the mid-19th century, realistic works have been much admired in various ways.

In the nineteenth century, Vermeer was rescued from almost obscurity, while several of his works were again attributed to others. It was a great move for a 17th century Dutch Painter.

However, many of his works have already been attributed to other artists, as his collections were already in large collections, proving that the quality of his paintings was unknown even to his composers.

It contains the late and very simple straightforward life of Adrian Court of the 1950s.

In fact, the contributions of 17th century Dutch Painter sects were very distinguished and inspiring for the people at that time as well for the painters in the next generations.

17th Century Dutch Painter – Role and Contribution