Through the adoption and endorsement of the ‘antique’, that was “followed by the most polite nations”, Gerard de Lairesse (1641-1711) aspired to reach out beyond the borders of the Northern Netherlands. His success with the grand and important elsewhere would eventually put contemporary Dutch art on the artistic map of Europe – or so he hoped. In that respect, the Groot schilderboek (1707) had an important

HAL is a multi-disciplinary open access archive for the deposit and dissemination of scientific research documents, whether they are published or not. The documents may come from teaching and research institutions in France or abroad, or from public or private research centers. L’archive ouverte pluridisciplinaire HAL, est destinée au dépôt et à la diffusion de documents scientifiques de niveau recherche

The authenticity of the portrait of the Amsterdam poet Roemer Pieterszoon Visscher (1547-1620)-depicted as an old man with a beard and distinctive hat-has been a subject of debate ever since it was printed in Jacobus Scheltema's Anna en Maria Tesselschade, de dochters van Roemer Visscher (1808).Although the portrait formed the basis for the likeness of Roemer Visscher in popular nineteenth-century

There are three extant, southern Netherlandish group portraits of surgeons: "The anatomy lesson of Dr Joannes van Buyten" (1648) by the Antwerp portraitist Frans Denys (1610-1670), "The board of governors of the Bruges surgeons"(1677) by Philips Bernaerts, and "The anatomy lesson" (1679) featuring four Bruges surgeons by an anonymous artist. Civic group portraits from Bruges have received scant attention

A Bridled Atlas and his celestial globe. The History of a Statue on the Amsterdam Town Hall. The central figure at the back facade of the former city hall -now royal palace- in Amsterdam is the mythological giant Atlas. His presence is 'an allusion to universal peace', according to art historians who refer to the Treatry of Munster (1648) that also inspired other decorations by the architect Jacob

A painting in a private Amsterdam collection, which until now had been attributed to Jacob Adriaensz Backer, shows a surprisingly close relation to the 1633 picture Penitent King David byHendrick Bloemaert in the National Gallery in Prague. After a close comparison with a passage from Scripture (Job chapter 42, verses 7-9) and a print by Adriaen Collaert, based on a drawing by Johannes Stradanus, the

Many artists travelled abroad in the nineteenth century, and some of those journeys are noted in the art-historical literature. The registers of the passports that were required for travel abroad are an important and more complete source of information. Applications for passports were made to the local authority where the traveller lived, and the registers record the personal details of the applicant

Oud Holland 2016 volume 129 3/4 Since 1862, a family collection in Scotland includes a Dutch portrait of a child with a sheep, painted in 1663 (fig. 1).1 An inscription indicates that the portrayed child is four years old. Although the painting is signed and dated, the painter had remained unidentified until the present authors inspected it in 2011. The signature appeared to read ‘A. v. Hendoorn’,

The Dutch painter Johannes Anthonie Balthazar Stroebel (1821-1905) was born and raised in the Hague. He received his training at the local Teekenacademie (School of the Arts) and in the studios of Bartholomeus van Hove and his son Huib, both painters of historical architecture. Stroebel followed in their footsteps, while concentrating on spaces indoors enlivened by all manner of figures in seventeenth

Iconoclasm in a glass? Wouter Crabeths "Scourging of Heliodorus" and Dirck Crabeths "Cleansing of the Temple" in Gouda's Sint Janskerk. Two monumental stained-glass Windows, The Scourging of Heliodorus (1566) by Wouter Crabeth (ca.1535-1585) and the Cleansing of the Temple (1567) by his older brother Dirck Crabeth (ca.1525-1574), occupy the eastern walls of the transept of Gouda's Sint Janskerk, to

Two paintings about love and fertility by Peter van Lint. The collection of the Prado Museum in Madrid contains two pendants painted by the Antwerp artista Peter van Lint: a Triumph of love and a Triumph of fertility. They are on copper supports and are currently on permanent Ioan in Rome and on Mallorca. Fresh light has been shed on them by the discovery of two small and virtually identical panels