Sleeping Peasants near Fields (Parable of the Weeds), previewed as a 20 by 16 inch giclée reproduction.

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Simon de Vlieger

Dutch, 1601–1653

Sleeping Peasants near Fields (Parable of the Weeds)1650–53

oil on canvas

Framed: 122 x 161.5 x 8 cm (48 1/16 x 63 9/16 x 3 1/8 in.); Unframed: 90.4 x 130.4 cm (35 9/16 x 51 5/16 in.)

Courtesy of the Cleveland Museum of Art · 1975.76

During the 1600s Protestant leaders denounced visual representations, in a belief that a strict understanding of the scriptures was the only way to achieve salvation. More about this work

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Format

Archival pigment inks on Hahnemühle Photo Rag, a 308 gsm cotton paper, with a white border.

Size

At this size the museum's file prints at 191 ppi: sharp at arm's length, a little softer than the smaller sizes up close.

Size
20 × 16 in · image 17¾ × 12¼
Paper
Hahnemühle Photo Rag, 308 gsm
Price
$56

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About this work

During the 1600s Protestant leaders denounced visual representations, in a belief that a strict understanding of the scriptures was the only way to achieve salvation. As a result, Protestants did not generally commission religious images. However, where religious painting did appear, they often depicted verses from the Bible with strict didactic values, such as Sleeping Peasants near Fields (Parable of the Weeds). The subject of this painting is the Parable of the Weeds from Matthew 13:24-30. Simon de Vlieger has illustrated the point in the story where the peasants sleep after sowing good seeds, and the enemy, depicted here as a satyr, mixes in bad seeds in the fields as well. When the weeds begin to grow, confused, the peasants ask the farmer if they should remove the seeds. The farmer replies that they should let the weeds and wheat grow together, and he will destroy the weeds after the harvest. The lesson of the story is that good and evil people often mix together; but in the end the pious will prevail and the wicked will be destroyed.

Text from the Cleveland Museum of Art.

How it was made

Oil paint
Pigment ground in a drying oil, usually linseed. It dries slowly, so painters could blend on the canvas, build up thin translucent glazes, and rework a picture over weeks. Canvas replaced wooden panels in the 1500s because it is lighter and can be rolled.

Simon de Vlieger

Dutch, 1601–1653

Dutch Golden Age

Seventeenth-century painting from the Dutch Republic: still lifes, interiors, portraits and flat, wide skies.

More from Dutch Golden Age

Rights and the museum’s record

Public domain. The Cleveland Museum of Art has dedicated this image to the public domain under CC0, so anyone may copy, adapt and use it, for any purpose, without asking. Our prints and files are reproductions made from the museum’s image; the museum doesn’t endorse them.

Object number
1975.76
Credit
Courtesy of the Cleveland Museum of Art
Type
Painting
Department
European Painting and Sculpture
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John White Alexander, 1895