It quickly became a classic standard work for generations of young Dutch and Flemish artists in the 17th century. For Dutch artists, Karel van Mander’s Schilderboeck was meant not only as a list of biographies, but also a source of advice for young artists. The Dutch were less given to the Flemish style of combining large still life elements with other types of painting – they would have been considered prideful in portraits – and the Flemish habit of https://www.goldenmister.co.uk/ specialist painters collaborating on the different elements in the same work.
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There was a market in Amsterdam for such paintings, and Post continued to produce Brazilian scenes for years after his return to the Netherlands. Although the Dutch control of the northeast sugar-producing region of Dutch Brazil turned out to be brief (1630–54), Governor Johan Maurits van Nassau-Siegen invited Dutch artists to paint scenes which are valuable in showing the seventeenth-century landscape and peoples of the region. They also moved to London, and the beginnings of English landscape painting were established by several less distinguished Dutch painters, such as Hendrick Danckerts.
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- Several artists, many his pupils, attempted with some success to continue his very personal style; Govaert Flinck was the most successful.
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Like other Dutch works on the theory of art, they expound many commonplaces of Renaissance theory and do not entirely reflect contemporary Dutch art, still often concentrating on history painting. Houbraken’s master, and Rembrandt’s pupil, was Samuel van Hoogstraten (1627–1678), whose Zichtbare wereld and Inleyding tot de Hooge Schoole der Schilderkonst (1678) contain more critical than biographical information and are among the most important treatises on painting of the period. The German artist Joachim von Sandrart (1606–1688) had worked for periods in Holland, and his Deutsche Akademie in the same format covers many Dutch artists he knew. Dutch artists were strikingly less concerned about artistic theory than those of many nations, and less given to discussing their art; it appears that there was also much less interest in artistic theory in general intellectual circles and among the wider public than was by then common in Italy. Cities such as Haarlem and Utrecht were more important in the first half of the century, with Leiden and other cities emerging after 1648, and above all Amsterdam, which increasingly drew to it artists from the rest of the Netherlands, as well as Flanders and Germany. Many artists came from well-off families, who paid fees for their apprenticeships, and they often married into property.
Several artists, many his pupils, attempted with some success to continue his very personal style; Govaert Flinck was the most successful. The Oranjezaal hall in the Huis ten Bosch was painted in the mid-century by many artists from both parts of the Low Countries and represents a rare Dutch ensemble in a Baroque palace style. The leading artists were Hendrick ter Brugghen, Gerard van Honthorst and Dirck van Baburen, and the school was active about 1630, although van Honthorst continued until the 1650s as a successful court painter to the English, Dutch and Danish courts in a more classical style. Compared to Baroque history painting from other countries, they shared the Dutch emphasis on realism, and narrative directness, and are sometimes known as the “Pre-Rembrandtists”, as Rembrandt’s early paintings were in this style. Many history paintings were small in scale, with the German painter (based in Rome) Adam Elsheimer as much an influence as Caravaggio (both died in 1610) on Dutch painters like Pieter Lastman, Rembrandt’s master, and Jan and Jacob Pynas.
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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. 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. Many paintings which seem 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. Typically they show what art historians term a “reality effect” rather than an actual realist depiction; the degree to which this is the case varies between artists. 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.
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