A distinctive feature of the period is the proliferation of distinct genres of paintings, with the majority of artists producing the bulk of their work within one of these. Most work, including that for which the period is best known, reflects the traditions of detailed realism inherited from Early Netherlandish painting. Although Dutch painting of the Golden Age is included in the general European period of Baroque painting, and often shows many of its characteristics, most lacks the idealization and love of splendour typical of much Baroque work, including that of neighbouring Flanders.
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In the early part of the century many Northern Mannerist artists with styles formed in the previous century continued to work, until the 1630s in the cases of Abraham Bloemaert and Joachim Wtewael. More than in other types of painting, Dutch history painters continued to be influenced by Italian painting. History painting https://www.goldenmister.co.uk/ was now a « minority art », although to an extent this was redressed by a relatively keen interest in print versions of history subjects. This category comprises not only paintings that depicted historical events of the past, but also paintings that showed biblical, mythological, literary and allegorical scenes.
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- Most paintings were relatively small – the only common type of really large paintings were group portraits.
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If only because of the enormous quantities produced, Dutch Golden Age painting has always formed a significant part of collections of Old Master paintings, itself a term invented in the 18th century to describe Dutch Golden Age artists. The two most well-known of these artists were Frans Post, a landscapist, and a still life painter, Albert Eckhout, who produced ethnographic paintings of Brazil’s population. Jan Weenix and Melchior d’Hondecoeter specialized in game and birds, dead or alive, and were in demand for country house and shooting-lodge overdoors across Northern Europe. Dead game, and birds painted live but studied from the dead, were another subgenre, as were dead fish, a staple of the Dutch diet – Abraham van Beijeren did many of these. Flower paintings formed a sub-group with its own specialists, and were occasionally the speciality of the few women artists, such as Maria van Oosterwyck and Rachel Ruysch. The genre naturally shares much with landscape painting, and in developing the depiction of the sky the two went together; many landscape artists also painted beach and river scenes.
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There were many dynasties of artists, and many married the daughters of their masters or other artists. With the obvious exception of portraits, many more Dutch paintings were done « speculatively » without a specific commission than was then the case in other countries – one of many ways in which the Dutch art market showed the future. The Hague, with the court, was an early example, where artists split into two groups in 1656 with the founding of the Confrerie Pictura. Later in the century, it began to become clear to all involved that the old idea of a guild controlling both training and sales no longer worked well, and gradually the guilds were replaced with academies, often only concerned with the training of artists. The turmoil of the early years of the Republic, with displaced artists from the south moving north and the loss of traditional markets in the court and church, led to a resurgence of artists guilds, often still called the Guild of Saint Luke. The technical quality of Dutch artists was generally high, still mostly following the old medieval system of training by apprenticeship with a master.
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The other great portraitist of the period is Frans Hals, whose famously lively brushwork and ability to show sitters looking relaxed and cheerful adds excitement to even the most unpromising subjects. The classic moment for having a portrait painted was upon marriage, when the new husband and wife more often than not occupied separate frames in a pair of paintings. Portrait painting thrived in the Netherlands in the 17th century, as there was a large mercantile class who were far more ready to commission portraits than their equivalents in other countries; a summary of various estimates of total production arrives at between 750,000 and 1,100,000 portraits. For all their uninhibited suggestiveness, genre painters rarely revealed more than a generous cleavage or stretch of thigh, usually when painting prostitutes or « Italian » peasants.
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Several artists, many his pupils, attempted with some success to continue his very personal style; Govaert Flinck was the most successful. The Oranjezaal hall in the Huis ten Bosch was painted in the mid-century by many artists from both parts of the Low Countries and represents a rare Dutch ensemble in a Baroque palace style. The leading artists were Hendrick ter Brugghen, Gerard van Honthorst and Dirck van Baburen, and the school was active about 1630, although van Honthorst continued until the 1650s as a successful court painter to the English, Dutch and Danish courts in a more classical style. Compared to Baroque history painting from other countries, they shared the Dutch emphasis on realism, and narrative directness, and are sometimes known as the « Pre-Rembrandtists », as Rembrandt’s early paintings were in this style. Many history paintings were small in scale, with the German painter (based in Rome) Adam Elsheimer as much an influence as Caravaggio (both died in 1610) on Dutch painters like Pieter Lastman, Rembrandt’s master, and Jan and Jacob Pynas.
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