Floor plan

Artist galleriesEdwaert Collier's contemporaries

Edwaert Collier's contemporaries

A work made of oil on canvas.
A sage-green harbor teems with more than a dozen sailing ships and rowboats under a pale gray sky in this horizontal painting. The horizon comes about one-fifth of the way up the composition, and dark gray and white clouds tower above. Light filters onto the scene through the clouds from our left to fall across the ships while casting shadows on the water nearest us. Painted in tones of slate gray and warm brown, most of the ships closest to us have their sails furled so the masts and horizontal yard arms bristle against the sky. The larger ships have cannons poking out of square portholes. On our right, a war ship floats with its ornately carved and gilded stern facing us. A flag flying from the tallest of the three masts has red, white, and green stripes. The artist painted his name on that flag, “R. Zeeman.” The ship is tied to a buoy with a length of rope, and an empty rowboat is tethered to the right side of the ship. A similar ship but with the sails hanging loosely is tied to a buoy just beyond this one. A row of pickets, like a fence, extends into the water behind these two ships. To our left, a rowboat full of men has pulled up alongside a partially sunken ship, its masts tilting toward us. A few people stand on two more ships nearby. A black temporary dock floats next to the leftmost ship here. A person mixes something that smokes on the platform, and another person stands on a board lifted halfway up the ship’s side, presumably working on a repair. Two women in another rowboat next to the floating dock lean over the side, washing clothes. Another fence encloses the harbor to our left, and a hut in the middle of the harbor is surrounded by a similar structure. Two rowboats closer to us are filled with men wearing tall hats and black or brown coats, and women wearing black bonnets and white shawls. More sailing ships and rowboats move back or around beyond the harbor, out to sea. Visible cracks cover the surface of the painting.
The image shows a landscape with rocky terrain, trees, and a stream. In the foreground, there is a bridge with a traveler and a dog crossing over the stream. The scene features detailed linework and cross-hatching to depict texture. The color palette is monochrome brown, resembling an etching or drawing style.
A work made of oil on canvas.
Rush Gatherers, by Nicolaes Berchem, 1657
A work made of oil on copper.

The works in this room are listed below.

Works in this room

A few works by Edwaert Collier, then their contemporaries: makers of the same nationality born within 25 years of them, then works from the same century and place.

With their contemporaries

  1. A work made of oil on canvas.
    A Vanitas Still Life with a Flag, Candlestick, Musical Instruments, Books, Writing Paraphernalia, Globes, and HourglassEdwaert Collier, 1662Courtesy of the Art Institute of Chicago
  2. A sage-green harbor teems with more than a dozen sailing ships and rowboats under a pale gray sky in this horizontal painting. The horizon comes about one-fifth of the way up the composition, and dark gray and white clouds tower above. Light filters onto the scene through the clouds from our left to fall across the ships while casting shadows on the water nearest us. Painted in tones of slate gray and warm brown, most of the ships closest to us have their sails furled so the masts and horizontal yard arms bristle against the sky. The larger ships have cannons poking out of square portholes. On our right, a war ship floats with its ornately carved and gilded stern facing us. A flag flying from the tallest of the three masts has red, white, and green stripes. The artist painted his name on that flag, “R. Zeeman.” The ship is tied to a buoy with a length of rope, and an empty rowboat is tethered to the right side of the ship. A similar ship but with the sails hanging loosely is tied to a buoy just beyond this one. A row of pickets, like a fence, extends into the water behind these two ships. To our left, a rowboat full of men has pulled up alongside a partially sunken ship, its masts tilting toward us. A few people stand on two more ships nearby. A black temporary dock floats next to the leftmost ship here. A person mixes something that smokes on the platform, and another person stands on a board lifted halfway up the ship’s side, presumably working on a repair. Two women in another rowboat next to the floating dock lean over the side, washing clothes. Another fence encloses the harbor to our left, and a hut in the middle of the harbor is surrounded by a similar structure. Two rowboats closer to us are filled with men wearing tall hats and black or brown coats, and women wearing black bonnets and white shawls. More sailing ships and rowboats move back or around beyond the harbor, out to sea. Visible cracks cover the surface of the painting.
    Amsterdam Harbor SceneReinier Nooms, called Zeeman, c. 1654/1655Courtesy National Gallery of Art, Washington
  3. The image shows a landscape with rocky terrain, trees, and a stream. In the foreground, there is a bridge with a traveler and a dog crossing over the stream. The scene features detailed linework and cross-hatching to depict texture. The color palette is monochrome brown, resembling an etching or drawing style.
    Goat on a small BridgeAllart van Everdingen, probably c. 1645/1656Courtesy National Gallery of Art, Washington

Their contemporaries

  1. A work made of oil on canvas.
    The Dutch Whaling FleetAbraham Storck, c. 1695Courtesy of the Art Institute of Chicago
  2. Rush Gatherers, by Nicolaes Berchem, 1657
    Rush GatherersNicolaes Berchem, 1657Courtesy of the Cleveland Museum of Art
  3. A work made of oil on copper.
    Portrait of a ManJan Baptist Weenix, c. 1650Courtesy of the Art Institute of Chicago

Their contemporaries, second

  1. Wheat Fields, by Jacob van Ruisdael, ca. 1670
    Wheat FieldsJacob van Ruisdael, ca. 1670Courtesy of The Metropolitan Museum of Art
  2. This is a drawing of multiple sheep in various poses. The full-page illustration depicts several sheep lying down. The fur of the sheep is textured with detailed pencil strokes, and there are subtle hints of shadow beneath each animal. There is a combination of different angles and poses, showing the sheep from different perspectives. The drawing also contains some rough sketches and outlines, suggesting movement and presence without complete detail. The background is plain.
    SheepNicolaes BerchemCourtesy National Gallery of Art, Washington