The most notable woman artist of the period, Judith Leyster (1609–1660), specialized in these, before her husband, Jan Miense Molenaer, prevailed on her to give up painting. Van Ostade was as likely to paint a single figure as a group, as were the Utrecht Caravaggisti in their genre works, and the single figure, or small groups of two or three became increasingly common, especially those including women and children. Van de Velde was also important as a landscapist, whose scenes included unglamorous figures very different from those in his genre paintings, which were typically set at garden parties in country houses.
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- Two other artists with more personal styles, whose best work included larger pictures (up to a metre or more across), were Aelbert Cuyp (1620–1691) and Philips Koninck (1619–1688).
- Despite the Dutch Republic being the most important nation in international trade in Europe, and the abundance of marine paintings, scenes of dock workers and other commercial activities are very rare.
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Like other Dutch works on the theory of art, they expound many commonplaces of Renaissance theory and do not entirely reflect contemporary Dutch art, still often concentrating on history painting. Houbraken’s master, and Rembrandt’s pupil, was Samuel van Hoogstraten (1627–1678), whose Zichtbare wereld and Inleyding tot de Hooge Schoole der Schilderkonst (1678) contain more critical than biographical information and are among the most important treatises on painting of the period. The German artist Joachim von Sandrart (1606–1688) had worked for periods in Holland, and his Deutsche Akademie in the same format covers many Dutch artists he knew. Dutch artists were strikingly less concerned about artistic theory than those of many nations, and less given to discussing their art; it appears that there was also much less interest in artistic theory in general intellectual circles and among the wider public than was by then common in Italy. Cities such as Haarlem and Utrecht were more important in the first half of the century, with Leiden and other cities emerging after 1648, and above all Amsterdam, which increasingly drew to it artists from the rest of the Netherlands, as well as Flanders and Germany. Many artists came from well-off families, who paid fees for their apprenticeships, and they often married into property.
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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.
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 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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- The enormous success of 17th-century Dutch painting overpowered the work of subsequent generations, and no Dutch painter of the 18th century – nor, arguably, a 19th-century one before Van Gogh – is well known outside the Netherlands.
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Potter’s The Young Bull is an enormous and famous portrait which Napoleon took to Paris (it later returned) though livestock analysts have noted from the depiction of the various parts of the anatomy that it appears to be a composite of studies of six different animals of widely different ages. Klomp (1625–1688), Adriaen van de Velde (1636–1672) and Karel Dujardin (1626–1678, farm animals), with Philips Wouwerman painting horses and riders in various settings. Italianate landscapes were popular as prints, and more paintings by Berchem were reproduced in engravings during the period itself than those of any other artist. Other artists who consistently worked in the style were Nicolaes Berchem (1620–1683) and Adam Pijnacker. Two other artists with more personal styles, whose best work included larger pictures (up to a metre or more across), were Aelbert Cuyp (1620–1691) and Philips Koninck (1619–1688). Important early figures in the move to realism were Esaias van de Velde (1587–1630) and Hendrick Avercamp (1585–1634), both also mentioned above as genre painters – in Avercamp’s case the same paintings deserve mention in each category.
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There was a market in Amsterdam for such paintings, and Post continued to produce Brazilian scenes for years after his return to the Netherlands. Although the Dutch control of the northeast sugar-producing region of Dutch Brazil turned out to be brief (1630–54), Governor Johan Maurits van Nassau-Siegen invited Dutch artists to paint scenes which are valuable in showing the seventeenth-century landscape and peoples of the region. They also moved to London, and the beginnings of English landscape painting were established by several less distinguished Dutch painters, such as Hendrick Danckerts.
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