Ochre Editions
SearchSign inCart (0)

17th-century Netherlands

Works made in the Netherlands in the 17th century.

91 works · hang 9307 ·

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

Walk this roomRehang this room

First room, north wall

  1. 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
  2. A work made of opaque and translucent watercolors, with pen and brown ink, over graphite, on cream laid paper.
    Two Old Men beside a Sled Bearing the Coats of Arms of Amsterdam and UtrechtHendric Avercamp, 1620/33Courtesy of the Art Institute of Chicago
  3. Reading the News at the Weavers' Cottage, by Adriaen van Ostade, 1673
    Reading the News at the Weavers' CottageAdriaen van Ostade, 1673Courtesy of The Metropolitan Museum of Art
  4. A work made of oil on copper.
    Portrait of a ManJan Baptist Weenix, c. 1650Courtesy of the Art Institute of Chicago

First room, south wall

  1. The Lovesick Maiden, by Jan Steen, ca. 1660
    The Lovesick MaidenJan Steen, ca. 1660Courtesy of The Metropolitan Museum of Art
  2. A rutted, dirt road curves from the bottom center of the canvas toward and behind a grove of tall trees to our left, beneath a pale blue sky with fluffy white clouds that fills the top two-thirds of this horizontal landscape painting. The broad, green canopies of the trees to our left create deep shade over twisting trunks, shrubs, and grasses. A narrow stream meandering alongside the road to our left reflects the moss, pine, and sage greens of the leaves. The land rises in a sloping bank to our right, and leads back to open fields with hedgerows that stretch to the horizon. Shorter, more spindly trees cluster along the bank in the distance. Tiny in scale, people are sprinkled throughout the landscape, either singly or in small groups. In the shade of the grove to our left, a man with dark pantaloons, a brown hat and coat, and a walking stick strolls along the road with a woman wearing a red skirt, a dark shirt, and a white apron and cap. Just off the curve of the road to our right, another man with a walking stick, tan hat, and dark gray pantaloons talks to a woman also wearing red, black, and white. Another person, slightly smaller in stature, stands between them. At a pond farther back from this trio, a man with a broad-brimmed hat sits fishing at the edge of the water. Barely visible, a house with a pitched roof, a tall, brick-red chimney, and a white picket fence peeks out from behind the trees beyond the pond. Finally, a man wearing a rust-orange coat, gray pantaloons with white stockings, and a tall hat, carrying a pole propped on his shoulder, walks toward us on a footpath running alongside the fields. Tall, cream-white clouds dot the pale blue sky above, and tiny dots of dark paint suggest flying birds. Soft sunlight pours across the countryside. The artist signed and dated the painting in small script in the lower right corner: “meijndert Hobbema F 1663.”
    A Wooded LandscapeMeindert Hobbema, 1663Courtesy National Gallery of Art, Washington
  3. Shown from the shoulders up, a man and woman face our left in profile against a shadowy, dark green curtain in this vertical portrait painting. They both look steadily to our left, they and have pale skin and wear black. The man is closer to us so he overlaps the woman, whose profile is shifted to our left. A black cap sits on the man's curly, silver, shoulder-length hair. He has a slight double chin and soft jowls. A thin mustache curves over his upper lip, and a line of hair runs down his chin as a narrow beard. A broad, flat, white collar lies across his shoulders over a velvety black coat. He lifts his left hand, closer to us, in front of his chest with the fingers curled gently inward. The woman also has a double chin and soft jowls. Her thin lips are closed and downturned. Her hair is pulled back under a black covering, and her black garment has a sheen, suggesting satin.
    Portrait of the Artist's Parents, Salomon de Bray and Anna WesterbaenJan de Bray, 1664Courtesy National Gallery of Art, Washington

Second room, south wall

  1. Cottage among Trees, by Rembrandt van Rijn, ca. 1650
    Cottage among TreesRembrandt van Rijn, ca. 1650Courtesy of The Metropolitan Museum of Art
  2. Study of a Tulip (Wit en root boode), by Pieter Holsteyn II, c. 1645
    Study of a Tulip (Wit en root boode)Pieter Holsteyn II, c. 1645Courtesy of the Cleveland Museum of Art
  3. 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
  4. Sleeping Peasants near Fields (Parable of the Weeds), by Simon de Vlieger, 1650–53
    Sleeping Peasants near Fields (Parable of the Weeds)Simon de Vlieger, 1650–53Courtesy of the Cleveland Museum of Art

Second room, north wall

  1. Interior with a Young Couple, by Pieter de Hooch, probably ca. 1662–65
    Interior with a Young CouplePieter de Hooch, probably ca. 1662–65Courtesy of The Metropolitan 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. English Warship Firing a Salute, 1690
    English Warship Firing a SaluteUnrecorded Dutch maker, 1690Courtesy of the Cleveland Museum of Art

Third room, north wall

  1. This is a drawing of two nude figures standing beneath a fruit-bearing tree surrounded by elements of nature. The drawing depicts a scene in a lush outdoor setting, featuring intricately detailed branches and leaves of the large tree as well as an eagle-like bird perched nearby. In the background are additional trees extending into a forested area, and a winding path leading into the distance. The foreground includes various plants and the ground is littered with their leaves. The figures are positioned at the center, engaged in a gesture of pointing towards the fruit in the tree. The scene is rendered in fine details with attention to the texture and flow of the natural elements surrounding the figures.
    Adam and Eve before the Tree of KnowledgeJan Saenredam, 1604Courtesy National Gallery of Art, Washington
  2. Portrait of Tieleman Roosterman, by Frans Hals, 1634
    Portrait of Tieleman RoostermanFrans Hals, 1634Courtesy of the Cleveland Museum of Art