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There were, for virtually the first time, many professional art dealers, several also significant artists, like Vermeer and his father, Jan van Goyen and Willem Kalf. The volume of production meant that prices were fairly low, except for the best known artists; as in most subsequent periods, there was a steep price gradient for more fashionable artists. Foreigners remarked on the enormous quantities of art produced and the large fairs where many paintings were sold – it has been roughly estimated that over 1.3 million Dutch pictures were painted in the 20 years after 1640 alone. Most paintings were relatively small – the only common type of really large paintings were group portraits.
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”. 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. Scenes of everyday life, now called genre paintings, prominently feature figures to whom no specific identity can be attached – they are not portraits or intended as historical figures, but rather snapshots of quotidian life. In Amsterdam most of these paintings would ultimately end up in the possession of the city council, and many are now on display in the Amsterdams Historisch Museum; there are no significant examples outside the Netherlands. A distinctive type of painting, combining elements of the portrait, history, and genre painting was the tronie. Rembrandt evolved a more effective way of painting patterned lace, laying in broad white stokes, and then painting lightly in black to show the pattern.
The other great portraitist of the period is Frans Hals, whose famously lively brushwork and ability to show sitters looking relaxed and cheerful adds excitement to even the most unpromising subjects. The classic moment for having a portrait painted was upon marriage, when the new husband and wife more often than not occupied separate frames in a pair of paintings. Portrait painting thrived in the Netherlands in the 17th century, as there was a large mercantile class who were far more ready to commission portraits than their equivalents in other countries; a summary of various estimates of total production arrives at between 750,000 and 1,100,000 portraits. For all their uninhibited suggestiveness, genre painters rarely revealed more than a generous cleavage or stretch of thigh, usually when painting prostitutes or “Italian” peasants.
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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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Potter’s The Young Bull is an enormous and famous portrait which Napoleon took to Paris (it later returned) though livestock analysts have noted from the depiction of the various parts of the anatomy that it appears to be a composite of studies of six different animals of widely different ages. Klomp (1625–1688), Adriaen van de Velde (1636–1672) and Karel Dujardin (1626–1678, farm animals), with Philips Wouwerman painting horses and riders in various settings. Italianate landscapes were popular as prints, and more paintings by Berchem were reproduced in engravings during the period itself than those of any other artist. Other artists who consistently worked in the style were Nicolaes Berchem (1620–1683) and Adam Pijnacker. Two other artists with more personal styles, whose best work included larger pictures (up to a metre or more across), were Aelbert Cuyp (1620–1691) and Philips Koninck (1619–1688). Important early figures in the move to realism were Esaias van de Velde (1587–1630) and Hendrick Avercamp (1585–1634), both also mentioned above as genre painters – in Avercamp’s case the same paintings deserve mention in each category.
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Based on these markers, we have calculated the Safety Index, a score that summarizes our analysis of the safety and fairness of online casinos. In landscape painting, the Italianate artists were the most influential and highly regarded in the 18th century, but John Constable was among those Romantics who denounced them for artificiality, preferring the tonal and classical artists. However the fact that so many of his works were already in major collections, often attributed to other artists, demonstrates that the quality of individual paintings was recognised even if his collective oeuvre was unknown.
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