Ochre Editions
SearchSign inCart (0)

17th-century Netherlands

Works made in the Netherlands in the 17th century.

91 works · hang 424 ·

The rooms are imagined; every work on their walls is real.

Walk this roomRehang this room

First room, north wall

  1. Cow, Bull and Calf, by Karel Dujardin
    Cow, Bull and CalfKarel DujardinCourtesy National Gallery of Art, Washington
  2. The image shows a pastoral scene in black and white with fine line work. A small bridge with a circular archway crosses a stream. A dirt path winds through the landscape flanked by grass and bushes. A rocky cliff ascends on the left with a tower-like structure partially obscured by vegetation. The horizon features a cloudy sky, with swirling lines indicating motion. In the distance, a tall, thin structure, possibly a spire or chimney, stands amid faint hills and trees. The scene conveys a serene atmosphere through hatching and cross-hatching techniques.
    Cascade under a Stone BridgeJan van de Velde II, c. 1616Courtesy National Gallery of Art, Washington
  3. A work made of pen and brown ink, with touches of brush and brown ink wash, on cream laid paper.
    Woman Seated on Bench and Three Sketches of HeadsSchool of Rembrandt van Rijn, n.d.Courtesy of the Art Institute of Chicago

First room, south wall

  1. Rush Gatherers, by Nicolaes Berchem, 1657
    Rush GatherersNicolaes Berchem, 1657Courtesy of the Cleveland Museum of Art
  2. Portrait of Gerard de Lairesse, by Rembrandt van Rijn, 1665–67
    Portrait of Gerard de LairesseRembrandt van Rijn, 1665–67Courtesy of The Metropolitan Museum of Art
  3. Portrait of a Woman, by Govaert Flinck, 1646
    Portrait of a WomanGovaert Flinck, 1646Courtesy of the Cleveland Museum of Art

Second room, south wall

  1. Merry Company on a Terrace, by Jan Steen, ca. 1670
    Merry Company on a TerraceJan Steen, ca. 1670Courtesy of The Metropolitan Museum of Art
  2. Self-Portrait, by Rembrandt van Rijn, 1660
    Self-PortraitRembrandt van Rijn, 1660Courtesy of The Metropolitan Museum of Art
  3. Salome with the Head of Saint John the Baptist, by Jacob Duck, mid-1600s
    Salome with the Head of Saint John the BaptistJacob Duck, mid-1600sCourtesy of the Cleveland Museum of Art

Second room, north wall

  1. Study of a Young Woman, by Johannes Vermeer, ca. 1665–67
    Study of a Young WomanJohannes Vermeer, ca. 1665–67Courtesy of The Metropolitan Museum of Art
  2. A work made of oil on canvas.
    Lady Playing with a DogEglon van der Neer, c. 1670Courtesy of the Art Institute of Chicago
  3. Shown from the chest up, a light-skinned man with a wrinkled face and a silvery gray beard and hair gazes into the distance in this oval portrait painting. His chest is angled to our right but he turns his head to look off over his other shoulder, to our left. His slate-blue eyes are a little sunken and lined with wrinkles. Shading marks the hollows of the temple and cheek we can see. His thin lips are closed and framed by his curly mustache and beard. A dark, mahogany-brown cap is pushed back on his head, and his brown jacket has gold-colored buttons down the front. The collar of a cream-colored shirt shows through at the neckline. The background is dark olive green. The artist signed the work near the man’s shoulder, to our right: “GDOV.”
    Bust of a Bearded ManGerrit Dou, c. 1642/1645Courtesy National Gallery of Art, Washington
  4. Gathered in a round glass vase, a tall bouquet of flowers in shades of light and deep pink, sunshine yellow, and white with pine-green leaves nearly fills this vertical still life painting. Shown against an gray background, the vase sits on a narrow ledge, perhaps made of wood. A label with looping, cursive French text painted in gold against a baby blue background is affixed to the front of the ledge, along the bottom edge of the composition. The text reads, “C'est l'Angelicq main du grad Peinctre de Flore AMBROISE, renommé jusqu' au Rivage Moré.” A few of the flowers draw the eye, including a tulip and iris at the top of the bouquet. To our left, the tulip is mauve pink with cream-colored streaks, and one petal folds down to reveal the stamen inside. Next to it, a damselfly, an insect like a delicate dragonfly, rests on the vibrant yellow iris. The petals curling down from the iris are veined in muted burgundy red. Flowers filling in the bouquet below include a shell-pink cyclamen, a white gardenia, a closed blue and white striped columbine, a slate-blue grape hyacinth, lily of the valley, pale blue forget-me-nots, and a pink peony interspersed with leaves and greenery. The round glass vase has a narrow opening. A sprig of viola rests to our left of the vase on the ledge, and an orange, black, white, and brown butterfly perches on the stem of a pink cyclamen laying to our right of the vase. The artist signed the painting with a monogram and dated it in dark paint to our right on the face of the ledge: “AB 1621.”
    Bouquet of Flowers in a Glass VaseAmbrosius Bosschaert, 1621Courtesy National Gallery of Art, Washington

Third room, north wall

  1. In the center of this painting, a large animal carcass is hanging upside down from a wooden frame, with several people attending to it. The carcass is light pink and has been cut open to reveal white ribs, red muscles, and purple organs. On the far left, a young boy stands next to a barrel and a basket, holding several small knives. To the right, a man in a red cap and white apron observes the carcass while holding a drink. An older man in a furred cap and dark clothing looks towards him and holds one edge of the carcass. On the other side of the animal, a young boy blows up a round object. Two women peer out from the doorway of a wooden building in the background, one holding a basket full of what looks like meat. Behind this group of people are several brown structures and a bare tree against a light pink sky.
    The Slaughtered HogJan Victors, 1653Courtesy National Gallery of Art, Washington
  2. A work made of etching, burin, and drypoint on ivory laid paper.
    Saint Jerome Reading in an Italian LandscapeRembrandt van Rijn, c. 1653Courtesy of the Art Institute of Chicago
  3. Reclining Female Nude, by Rembrandt van Rijn, 1658
    Reclining Female NudeRembrandt van Rijn, 1658Courtesy of The Metropolitan Museum of Art