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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. Already by the end of the period artists were complaining that buyers were more interested in dead than living ...
Dutch Golden Age painting was among the most acclaimed in the world at the time, during the seventeenth century. During the Dutch Golden Age, there was such a high output of paintings that prices for artwork declined. From the 1620s, Dutch painting broke decisively from the Baroque style typified by Rubens in neighboring Flanders into a more ...
Most artists active in the city during the first half of the 17th century were directly influenced by Rubens. Peter Paul Rubens and Frans Snyders, Prometheus Bound, 1611–12. Philadelphia Museum of Art. This painting is Flemish Baroque example of collaboration and specialization.
Ín the 17th century these studies of faces became an art form in their own right in the Dutch Republic. The most important artistic precursors of tronies, which were produced in Leiden and Haarlem in the 1620s, include painted and drawn study heads of the 16th and early 16th and early 17th centuries.
Although landscape paintings were popular in seventeenth-century Dutch art, the depiction of a specific industry and its connection with a particular place was relatively rare at the time. [1] Ruisdael was the one to popularize the painting of such landscape views of Haarlem, including the industry that the town was known for. [ 1 ]
The 17th century was a period dominated by the distinct individuals Peter Paul Rubens in the Southern Netherlands and Rembrandt van Rijn in the newly independent Dutch Republic. [3] Dutch and Flemish painters both followed many of the same themes, including still life, genre, landscape, portraiture and classicism.
Jan Steen was a Dutch genre painter of the 17th century. Dutch painting of the time, including the landscapes of Aelbert Cuyp and Jacob van Ruisdael, show a rustic intimacy that carried over into genre paintings of domestic scenes. The paintings of Jan Vermeer and Jan Steen detail the same sense of comfort in scenes from daily household life ...
The idea of this style of painting was to show possessions and wealth are fleeting and mean nothing when one is faced with death. [6] The vanitas genre involves subject matter which includes symbols depicting mortality or the perishable nature of material things. The style can be seen in 17th-century Dutch still life paintings. [7]