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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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 specialist painters collaborating on the different elements in the same work.
If only because of the enormous quantities produced, Dutch Golden Age painting has always formed a significant part of collections of Old Master paintings, itself a term invented in the 18th century to describe Dutch Golden Age artists. The two most well-known of these artists were Frans Post, a landscapist, and a still life painter, Albert Eckhout, who produced ethnographic paintings of Brazil’s population. Jan Weenix and Melchior d’Hondecoeter specialized in game and birds, dead or alive, and were in demand for country house and shooting-lodge overdoors across Northern Europe. Dead game, and birds painted live but studied from the dead, were another subgenre, as were dead fish, a staple of the Dutch diet – Abraham van Beijeren did many of these. Flower paintings formed a sub-group with its own specialists, and were occasionally the speciality of the few women artists, such as Maria van Oosterwyck and Rachel Ruysch. The genre naturally shares much with landscape painting, and in developing the depiction of the sky the two went together; many landscape artists also painted beach and river scenes.
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Genre paintings reflected the increasing prosperity of Dutch society, and settings grew steadily more comfortable, opulent and carefully depicted as the century progressed. 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. The Leiden school of fijnschilder (“fine painters”) were renowned for small and highly finished paintings, many of this type.
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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.
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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