Rijkmuseum荷兰国立博物馆

Art Historian

艺术本身无价，而艺术作品却是有价值的，特别是那些折射出历史与文化内涵的优秀作品。美学仅仅是艺术必不可缺的元素之一，历史与文化赋于艺术以生命力。艺术家把个人经历与感悟倾注其作品中，使其美在深处。

艺术，不仅仅是艺术。因为艺术和历史、社会、和心理，和创作时周围发生的一切产生着关系。

位于荷兰首都阿姆斯特丹的荷兰国立博物馆是荷兰国家级的历史和艺术博物馆. 始建于1885年, 是世界十大顶尖博物馆之一. 2015年曾被评为欧洲最佳博物馆.  它与海牙莫瑞泰斯皇家美术馆和鹿特丹博伊曼斯·范伯宁恩美术馆并称荷兰的三大美术馆。荷兰国立博物馆将超过八百年的荷兰艺术和社会发展历史, 在分布于四个楼层的八十个展厅里一一为您呈现.这是一次从中世纪直至二十世纪的艺术社会发展之旅，您可以沿着时间的足迹感受艺术的无穷魅力.

The Rijksmuseum collection is specialized in Dutch paintings, prints, drawings, history, sculpture and applied arts spanning the Middle Ages to the 20th century. It also has a large and important selection of Asian pieces and other foreign artworks including furniture, drawings and paintings. More than 8,000 objects in eighty galleries offer visitors an overview of late medieval times to the present day. Paintings, sculptures, applied art and objects from the past all come together to tell the story of more than six centuries of art and history. The current main building was designed by Pierre Cuypers （皮埃分·库贝）and first opened in 1885.

The Last Judgement' (1526-27), 

Lucas van Leyden (1495-1533)

Last Judgement by Lucas van Leyden is the most important surviving altarpiece in the Netherlands, says Taco Dibbits, Rijksmuseum General Director. We are therefore very honoured to be able to show this masterpiece from Museum De Lakenhal in the Gallery of Honour for the next two years.

Lucas van Leyden was recognized as a prodigy throughout Europe at an early stage because of his sublime etchings and drawings.  His prints depicting biblical and secular subjects stood out because of their unprecedentedly refined engraving technique and narrative quality. After 1520 Lucas started to concentrate on painting and he made three altarpieces, including The Last Judgement and The Dance around the Golden Calf (c. 1530, Rijksmuseum collection). A striking aspect of his work is the suggestion of immeasurable space, as exemplified in The Last Judgement. The huge triptych, which dates from 1526-27, is the pinnacle of his oeuvre. The painting shows how the dead arise from their graves on the Day of Judgement in order to meet their destiny. They are carried by gentle angels or by diabolical figures. The painting was commissioned for the Church of St Peter in Leiden. Shortly thereafter, during the iconoclasm, it and other art treasures were taken to safety by the Leiden city authorities. Since 1874 the altarpiece, together with Leidens municipal collections, has been permanently accessible to the public in Museum De Lakenhal. The Last Judgement has left Leiden only twice in the last 450 years.

This draughtsman, printmaker and painter was an important source of inspiration for many generations of painters, Rembrandt van Rijn among them. Rembrandt was brought up in Leiden and it was there that he embarked on his career as a painter. The Last Judgement was on show in Leiden Town Hall continuously from the end of the sixteenth century until it was moved to Museum De Lakenhal in 1874. Rembrandt is certain to have seen it there. The paintings presentation in the Rijksmuseum is a unique opportunity to show the triptych in the Gallery of Honour in the context of Rembrandt masterpieces.

Madonna of Humility, Fra Angelico, c. 1440

As a Dominican monk, Fra Angelico was not subject to the strict rules of the Florentine painters guild. He was thus free to develop a more personal style. This combined strong realism and solid forms with a certain sweetness partly derived from earlier Sienese and Florentine examples.

On display in room 0.2

William I, Prince of Oranje, Adriaen Thomasz. Key, c. 1579

Of the noblemen who rebelled against Phillip IIs Spanish rule of the Netherlands, William of Orange (15331584) rose to become the great leader of the Dutch Revolt. He defended his own interests, strove for greater independence and advocated freedom of religion. In 1580 Phillip II put a price on his head, and he was assassinated four years later.

Winter Landscape with Ice Skaters, Hendrick Avercamp, c. 1608

The high vantage point of this painting turns it into a sampler of human and animal activity during a harsh winter. Hundreds of people are out on the ice, most of them for pleasure, others working out of dire necessity. Avercamp did not shy away from grim details: in the left foreground crows and a dog feast on the carcass of a horse that has frozen to death.

Ice-skating in a Village, Hendrick Avercamp, c. 1610

Born in Amsterdam, Hendrick Avercamp (1585-1634) grew up in Kampen. He lived and worked there from 1614 until his death in 1634. Avercamp is mentioned in various documents as the Kampen Mute, so it is assumed that he was deaf and dumb. Avercamp had originally been taught in Amsterdam by Pieter Isacksz, and specialised in winter landscapes. He adopted the Flemish tradition, which was continued in Amsterdam by Gilles van Coninxloo and Pieter Vinckboons. Avercamp's early landscapes have a clear narrative in style, often containing risqué anecdotes. Later, his work acquired a more atmospheric quality.

Enjoying the Ice near a Town, Hendrick Avercamp, c. 1620

A beggar tries to scrounge a bit of money, and another man has cut a hole in the ice in the hope of catching fish. The needy have to toil to make a living; those who are better off amuse themselves on the ice: and the richest of all in the right foreground look on. A few well-to-do ladies wear velvet masks to protect the delicate skin around their eyes from the cold.

The Threatened Swan, Jan Asselijn, c. 1650

A swan fiercely defends its nest against a dog. In later centuries this scuffle was interpreted as a political allegory: the white swan was thought to symbolize the Dutch statesman Johan de Witt (assassinated in 1672) protecting the country from its enemies. This was the meaning attached to the painting when it became the very first acquisition to enter the Nationale Kunstgalerij (the forerunner of the Rijksmuseum) in 1800.

Floral Still Life, Hans Bollongier, 1639

This exuberant bouquet may look natural, but tulips, anemones, roses and carnations do not all bloom at the same time. Bollongier nevertheless managed to assemble a balanced composition. The still life was painted shortly after the Dutch stock market crashed in 1637, when many people went bankrupt due to the speculation in tulip bulbs. This festive bouquet may thus refer to the transience of earthly matters.

Gallant Conversation, Known as The Paternal Admonition, Gerard ter Borch (II), c. 1654

With psychological sensitivity, Ter Borch here depicted three figures in a bedchamber. The young man, his sword still hanging from his belt and his hat resting in his lap, calls on the young woman. He makes a speaking gesture with his raised hand, while gazing intently at the girl in a magnificent satin gown. Is he making an indecent proposal? With her back turned, her reaction remains hidden from us.

Still Life with a Gilt Cup, Willem Claesz. Heda, 1635

The range of grey tonalities that Willem Heda could paint is astounding. With this subtle palette, he deftly rendered the objects of pewter, silver, damask, glass and mother-of-pearl on this table. A few yellow and ochre accents compliment this refined interplay of colours. Heda specialized in near monochromatic still lifes, so-called tonal banquet pieces.

Still-life painter Pieter Claesz (1596/97-1660) probably came from Berchem, near Antwerp. He moved to Haarlem at an early date, where he married in 1617 and remained for the rest of his life. Pieter Claesz's son Nicolaes Berchem also became a painter. In his early work, Pieter Claesz employed vivid colours. Later, he adopted a more subdued palette with a more monotone range. His compositions acquired increasing elegance, broadness and nonchalance as the years passed. Nevertheless, the objects in his still lifes rarely overlap. For Pieter Claesz, the principal aim was to render the materials and catch the reflected light as accurately as possible. This was his speciality.

Vanitas Still Life with the Spinario, Pieter Claesz., 1628

Appearances can be deceptive certainly in painting, which gives only an impression of reality. Here Claesz presents the study materials of an educated painter: books, drawings, armour, musical instruments and a plaster cast of the Spinario, a famous antique sculpture of a boy extracting a thorn from his foot. On the table are a paintbrush and a palette, along with bones and a skull. The message is clear: the world is mere illusion and transience (vanitas).

Still Life with a Turkey Pie, Pieter Claesz., 1627

The Flemish painter Pieter Claesz was just one of many artists who emigrated to the Northern Netherlands in the beginning of the 17th century. This table abounds with luxurious products, among them Asian objects. Especially eye-catching are the porcelain plate and the nautilus shell. Even in unexpected objects, the presence of Asia is implicit for instance in savoury pies, which contain ingredients such as cinnamon, mace, cloves and ginger.

William II, Prince of Orange, and his Bride, Mary Stuart, Anthony van Dyck, 1641

The boy is fourteen and the girl only nine. Williams father, Frederick Henry, commissioned the celebrated Flemish painter Van Dyck to portray the young Dutch prince and English princess on the occasion of their marriage in London. The union with the daughter of the English king enhanced the status of the House of Orange. On her gown, Mary wears a gift from William, a large diamond brooch.

Painter and etcher Anthony van Dyck (1599-1641) was second only to Rubens in 17th-century Flanders. In fact he had worked at the latter's Antwerp studio as a young man. There he had concentrated on painting religious and historical scenes, like his teacher. Van Dyck had a huge impact as a portraitist of affluent burghers. From 1621 to 1627, Van Dyck worked in Italy, particularly in Genoa, where he absorbed the influence of Venetian painters, especially Titian. Later, Van Dyck worked in Flanders for several years, before suddenly leaving for London in 1632. Knighted by Charles I, Sir Anthony became one of the most sought-after artists of the English court. The remarkable elegance with which he portrayed his subjects certainly contributed to his success. In his later years, Van Dijck spent time in both England and the Low Countries.

Girl in a Large Hat, Caesar Boëtius van Everdingen, c. 1645 - c. 1650

The girl with her exotic, broad-brimmed sun hat and suggestively exposed shoulder offers the viewer her basket with fruit: the erotic message is unmistakeable. The painting was originally intended to hang high up on the wall, above a door or mantelpiece. This explains why the girl looks down at us.

Self-portrait, Giambologna, c. 1600

Around 1600 Giambologna was considered the most famous sculptor active in Europe. The detailing of this polychromed plaster statue closely resembles that of his bronze self-portrait displayed nearby. Both versions would have been made from the same wax model.

Jean Boulogne (1529-1608) was born in Douai, in what was then part of Flanders. At fourteen he was apprenticed to sculptor Jacques Dubroecq. As a journeyman, he travelled to Rome to study the famous works of the Renaissance and Classical Antiquity. There he adopted the name 'Giambologna' and met Michelangelo. For the wealthy Medici family of Florentine bankers he made life-size marble and bronze statues. His Rape of the Sabines was given pride of place in the heart of Florence. A reduced bronze copy of this statue is in the Rijksmuseum, along with bronze casts of his Labours of Hercules series. These statues reveal Giambolognas fascination with the human form: twisted, turning bodies, tense muscles, contorted faces. This Mannerist style was imitated throughout Europe.

The Rape of a Sabine Woman, Giambologna (after), Giambologna (rejected attribution), c. 1600 - c. 1625

This complex group of three intertwined figures is a reduced copy of the monumental marble sculpture Giambologna made in 1583 for the Loggia dei Lanzi in Florence, where it stands to this day. The composition is so ingenious that the statuette looks beautiful from all angles. This was quite an artistic challenge for sculptors in the late 16th century.

Self-portrait, Vincent van Gogh, 1887

Vincent moved to Paris in 1886, after hearing from his brother Theo about the new, colourful style of French painting. Wasting no time, he tried it out in several self-portraits. He did this mostly to avoid having to pay for a model. Using rhythmic brushstrokes in striking colours, he portrayed himself here as a fashionably dressed Parisian.

Vincent van Gogh (1853-1890) was born in Zundert in Brabant, where his father was a pastor. His uncles were art dealers and Vincent began his career working for them. After several years in the art trade, he worked as a lay preacher in England and later devoted time to missionary work in Belgium. In 1880, he resolved to become an artist. At The Hague and Nuenen he painted still lifes, landscapes and scenes from village life in sombre colours.

After a short period of study in Antwerp, Van Gogh moved to Paris. Influenced by Impressionism and Pointillism, he developed his characteristic style of separate streaks of paint and clear, vivid colours. In 1888, Van Gogh moved to Arles in the South of France. Mental illness led to several periods in hospital. Between these crises he continued to paint feverishly, until his death in 1890.

Portrait of Dr Gachet, Vincent van Gogh, 1890

De aardappeleters, Vincent van Gogh, 1885

Farming Village at Twilight, Vincent van Gogh, 1884

A Windmill on a Polder Waterway, Known as In the Month of July, Paul Joseph Constantin Gabriël, c. 1889

Our country is saturated with colour. ...I repeat, our country is not grey, not even in grey weather, nor are the dunes grey, wrote Constant Gabriël in a letter. Unlike many Hague School painters, he actually enjoyed depicting a beautiful summer day. There are even two of them in this painting: the image of the grass, sky and mill, and their reflection in the water.

A Militiaman Holding a Berkemeyer, Known as the Merry Drinker, Frans Hals, c. 1628 - c. 1630

This militiaman merrily raises his glass to toast us who would not wish to join him? The execution is just as free and easy as the sitter himself: the swift, spontaneously applied brushstrokes enhance the portraits sense of liveliness and animation. The man actually seems to be moving. This bravura painting style ensured the continued success of Frans Hals.

Portrait of a Couple, Probably Isaac Abrahamsz Massa and Beatrix van der Laen, Frans Hals, c. 1622

This happy, smiling pair sits comfortably close to each other. Posing a couple together in this way was highly unusual at the time. It may have been prompted by the sitters friendship with the painter and the occasion for the commission their marriage in April 1622. The painting thus contains references to love and devotion, such as the garden of love at right, and at left an eryngium thistle, known in Dutch as mannentrouw, or male fidelity.

The Merry Fiddler, Gerard van Honthorst, 1623

The man wearing extravagant Italian-looking clothing takes us by surprise. He appears from behind a tapestry and leans out of the . He tries to engage with the viewer in order to clink glasses. So lifelike and convincing is Honthorsts rendering that the fiddler seems to have slipped out from the frame of the painting to join us.

Mother Delousing her Childs Hair, Known as A Mothers Duty, Pieter de Hooch, c. 1658 - c. 1660

A mother thoroughly inspects her childs head for lice. She pursues her task in a sober Dutch interior, with Delft blue tiles and a box bed. In the right foreground is a kakstoel, or potty chair. Through the doorway is a glimpse of a sunny back room and a garden. De Hooch specialized in such through-views.

Pieter de Hooch (1629-in or after 1684) was born in Rotterdam. He served his apprenticeship under Ludolph de Jongh in Rotterdam and later under Nicolaes Pietersz Berchem in Haarlem. In 1655, he registered with the artists guild in Delft as an independent painter. Like many artists of the time, De Hooch also had a second trade: he worked for a cloth merchant. As an artist, De Hooch mainly painted figures in domestic settings. A characteristic element in many of his paintings is a view of a room or yard through an open door or . As was usual in Dutch genre painting, his interiors often conveyed a moral message. When De Hooch moved to Amsterdam in 1661, his style became more elegant and profuse. His son Pieter, who was also his pupil, died at Amsterdams mental asylum in 1684. When De Hooch himself died is unclear; his last dated work is from that same year, 1684.

Figures in a Courtyard behind a House, Pieter de Hooch, c. 1663 - c. 1665

In his Delft period, De Hooch turned to a new subject, namely brightly lit figures in a back garden. The people depicted in this scene seem somewhat out of place and could just as easily be found in a dimly lit tavern. Seduction is in the air. The gallant (or suitor) casts a flirtatious glance at the girl squeezing the juice of a lemon into her glass.

Interior with Women beside a Linen Cupboard, Pieter de Hooch, 1663

This scene of domestic virtue dates from De Hoochs Amsterdam period. In a richly appointed house, two women put freshly pressed linen into a cupboard. They have hitched up their skirts to keep them clean while doing household chores. In the doorway a child plays with a kolfstok, a kind of hockey stick. Brightly lit canal houses can be see.

Woman with a Child in a Pantry, Pieter de Hooch, c. 1656 - c. 1660

Pieter de Hooch worked in Delft for a few years at the same time as Johannes Vermeer. Both artists were fascinated by how to render light and space. Here, De Hooch represented a space by means of two throughviews (glimpses through doorways or s): one into the cellar, the other into the entrance hall. He depicted the daylight with the lightest of paint, namely pure white. He thus created the perfect illusion of an interior space.

Man Handing a Letter to a Woman in the Entrance Hall of a House, Pieter de Hooch, 1670

The door and of this entrance hall in an Amsterdam canal house are wide open. Daylight falls on a young woman receiving a letter. Pieter de Hooch cleverly linked the interior with the exterior. Our gaze moves past the little dog to the canal, on the opposite side of which two men converse and a woman at a looks towards us. The gateway seen through the right affords an even more distant view.

Piano Practice Interrupted, Willem Bartel van der Kooi, 1813

The Frisian painter Willem Bartel van der Kooi was a master at depicting children. The children in this painting are portrayed so playfully and naturally that the work resembles a snapshot. However, appearances are deceiving, for Van der Kooij carefully arranged the children to form a triangular composition. It is not known whether the painting is a portrait or an imaginary scene.

Willem Bartel van der Kooi (1768-1836) was born in Augustinusga in Friesland, into a prominent, affluent family. At twelve, he was apprenticed to a local firm of painters and decorators. He developed his talent as an artist more or less independently. He specialised in portraiture, although he also produced genre paintings. The French neo-Classical style clearly influenced his work. Van der Kooi taught numerous pupils and his impact on painting in Friesland in the 19th century was considerable.

After winning a prize for genre painting in 1808, his work was in constant demand. In 1818, Van der Kooi was commissioned to paint portraits of Willem I and his consort.

Van der Koois growing reputation beyond Friesland is apparent in his appointment to various art academies in Amsterdam, Antwerp and Ghent.

Letter, Willem Bartel van der Kooi, 1808

Dutch artists of the 19th century drew inspiration from the 17th century, the Golden Age of Dutch art. In this picture, Van der Kooi reprised a typically 17th-century theme, the delivery of a love letter. The tension between the lady and the young messenger is almost palpable. Yet The Love Letter is also highly contemporary, for the interior, hairstyles and clothing are entirely in keeping with the fashions of 1808.

Portrait of Rembrandt Harmensz van Rijn, Jan Lievens, c. 1628

As young artists, Rembrandt and Lievens shared a workshop in Leiden. Lievens painted his friend wearing a metal gorget and a beret. Rembrandt also portrayed himself in the same outfit a number of times during this period. In this little painting Lievens not only recorded his friends likeness, but also imitated his style, adopting Rembrandts characteristic dark colours, powerful contrasts of light and shade and tiny scratches in the paint.

Lievens (1607-1674) was already an apprentice painter at the age of eight: first in his native Leiden and from 1617 to 1619 under Pieter Lastman in Amsterdam. Later, he moved back to Leiden, where he worked together with Rembrandt for over five years. After 1631, Lievens struck out in a different direction; he spent three years in London. His style began to change under the influence of Anthony van Dycks portraits. And when he saw Rubenss work in Antwerp in 1635, Lievens adopted the Baroque style completely. In 1644, Lievens returned to Amsterdam, where he remained for the rest of his life. He received major commissions in the Dutch Republic. Stadholder Frederik Hendriks widow, Amalia van Solms, invited him to paint for the Orange room at Huis ten Bosch. The city of Amsterdam was another major patron. Lievens provided a canvas for the burgomasters chamber in the new town hall.

Portrait of Constantijn Huygens, Jan Lievens, c. 1628 - c. 1629

Constantijn Huygens (15961687) was secretary to Stadtholder Frederick Henry and a notable connoisseur. In his autobiography, he described how this painting was executed. Lievens painted the portrait in two stages, first the clothing and the hands, and then the face. This explains why the scale is a bit off: the head is too small in relation to the body.

The Sick Child, Gabriël Metsu, c. 1664 - c. 1666

In 1663 the plague raged throughout Amsterdam, killing one in ten citizens. Dating from around this time is Metsus poignant portrayal of a sick child, rendered in powerful, bright colours against a grey background. The scene is reminiscent of a pieta, a representation of the Virgin Mary holding her sons dead body in her lap. The painting of the Crucifixion on the back wall also recalls Christs suffering.

Born in Leiden, Gabriel Metsu (1629-1667) was the son of artist Jaques Metsue, who had moved there from Flanders. He was probably apprenticed to his father before becoming a pupil of Gerard Dou, then Leidens leading genre painter. In 1648, he helped found Leidens artist guild and later in 1657 he moved to Amsterdam, where he was to remain. Although Leiden was renowned for its fijnschilders, their style of meticulously precise brushwork only came into its own after Metsu had moved. Metsu painted genre scenes, especially people in domestic interiors and street scenes as well as a number of religious depictions. His work was influenced by various artists, particularly his teacher Gerard Dou, painters such as Nicolaus Knupfer and Jan Steen as well as the circle of Gerard ter Borch and Johannes Vermeer. He borrowed elements from their work and employed these in highly original ways.

The Old Drinker, Gabriël Metsu, c. 1661 - c. 1663

This old man holding a beer tankard looks out at us somewhat drowsily. The tally of the drinks he has consumed is chalked up on the slate behind him. The beer barrel at the left bears the mark of Het Rode Hert (The Red Hart), an Amsterdam brewery on the Prinsengracht. Metsu was living next door to it around 1650.

The Hunters Present, Gabriël Metsu, c. 1658 - c. 1661

A hunter offers a dead bird to a young woman virtuously occupied with her sewing. Is he trying to seduce her? During the 17th century vogelen (literally to bird) was slang for sexual intercourse. The statuette of Cupid, the god of love, on the cupboard also alludes to this. These kind of hunters scenes especially due to their possible double meaning were a popular subject in painting.

Woman Eating, Known as The Cats Breakfast, Gabriël Metsu, c. 1661 - c. 1664

A woman of humble origin shares her meal with a cat. In the 17th century it was not unusual to consume herring with bread (and beer!) for breakfast. Due to ageing, the yellow pigment in the stems of the flowers in the vase has disappeared, turning the original green colour blue.

Old Woman Meditating, Gabriël Metsu, c. 1661 - c. 1663

This old woman is seated with a book in her lap. She has just removed her pince-nez. Is she pausing for a moment or has she dozed off? The book in the womans hands and her wrinkled skin stand out in this small and otherwise dark painting. Metsu did this to underscore the essence of this popular subject the contemplation of devotional texts, with a focus on the transitoriness of life.

The Herring-Seller, Gabriël Metsu, c. 1661 - c. 1662

Maurits, Prince of Orange (1567-1625), Michiel Jansz van Mierevelt, c. 1613 - c. 1620

Prince Maurits was stadholder and military commander of the Republic of the Seven United Netherlands. He sired eight children with six different mistresses. As he refused to marry he had no legal successor. Maurits stands proud in a ceremonial gilded suit of armour, his helmet and gloves are on the table. This design had been the norm for state portraits since 1551, when it was first devised by the Italian painter Titian.

Van Miereveld (1566-1641) was a pupil of artist Anthonie Blocklandt of Utrecht. After a two-year apprenticeship, he returned to his native Delft. He received commissions for portraits from the stadholder court in The Hague: including Prince Maurice and members of the Orange family. This led to commissions from other wealthy families and diplomats. To meet the demand, Van Miereveld employed assistants, including his sons Pieter and Jan. His portraits became even more widely known when his son-in-law Willem Delff copied them as prints. Yet eventually he went out of fashion and was overtaken by rival portraitist Gerrit van Honthorst.

Still Life with Flowers and a Watch, Abraham Mignon, c. 1660 - c. 1679

Born in Frankfurt, Mignon (1640-1679) was originally apprenticed at the age of nine to the artist Jacob Marrell, who took his pupil with him when he moved from Germany to the Netherlands in 1664. From 1669 both artists are recorded as members of Utrechts St Luke's Guild. Here Mignon studied under the still-life specialist Jan Davidsz. de Heem and worked as his assistant until 1672. Mignon's paintings of flowers and fruit feature the same opulent style of composition and the same brilliant colours as De Heem's work. Mignon's paintings were popular at court, the Elector of Saxony and the French king Louis XIV both bought work by Mignon. Abraham Mignon continued to live in Utrecht, until his death in 1679.

Still Life with Fruit, Oysters, and a Porcelain Bowl, Abraham Mignon, 1660 - 1679

The composition of this still life is both sumptuous and inventive. Mignon set the roemer, the green glass at the left, upside down. Reflected in it is a , and a view of a church tower in Utrecht, where Mignon lived. The porcelain bowl from Asia was a sign of prosperity as well as being a showpiece on the table.

Militia Company of District II under the Command of Captain Frans Banninck Cocq, Known as "the Night Watch", Rembrandt van Rijn, 1642

Rembrandts largest, most famous canvas was made for the Arquebusiers guild hall. This was one of several halls of Amsterdams civic guard, the citys militia and police. Rembrandt was the first to paint figures in a group portrait actually doing something. The captain, dressed in black, is telling his lieutenant to start the company marching. The guardsmen are getting into formation. Rembrandt used the light to focus on particular details, like the captains gesturing hand and the young girl in the foreground. She was the company mascot.

Rembrandt van Rijn (1606-1669) was born in Leiden, the son of a miller. After finishing Latin School, his parents enrolled him at Leiden University. Rembrandt soon dropped out and became an apprentice painter under Jacob van Swanenburch in Leiden, and later Pieter Lastman in Amsterdam. Back in Leiden, he set up as an independent artist together with Jan Lievens. At this time, Rembrandt mainly painted biblical scenes in a precise style and with vibrant colours.

In 1631, he moved to Amsterdam where he received numerous commissions for portraits. His many pupils included Ferdinand Bol, Govert Flinck and Carel Fabritius. In this period, Rembrandt develop a more powerful chiaroscuro, a looser brush and a greater sense of drama. He focused more on historical scenes, and made numerous etchings and drawings.

In 1634, Rembrandt married Saskia Uylenburgh. They had a son, Titus, in 1641. Then a year later Saskia died. Later, in 1654, Rembrandt had a daughter with Hendrickje Stoffels. By now, he had accumulated huge debts and was forced to sell his house and property. He died in 1669 and was buried in Amsterdam's Westerkerk.

Portrait of a Couple as Isaac and Rebecca, known as The Jewish Bride, Rembrandt van Rijn, c. 1665 - c. 1669

Two contemporaries had themselves portrayed by Rembrandt in historicizing costumes as characters from the Bible. The couples tender embrace is at the centre of this poignant painting: the mans loving gesture is returned with a gentle caress. The figures and their poses agree with the study (No 67), only the figure of King Abimelech spying on them is missing. We, the viewers, assume his role as witnesses of their clandestine love.

Portrait of a Woman, Possibly Maria Trip, Rembrandt van Rijn, 1639

The young sitter is assumed to be Maria Trip, the daughter of a wealthy Amsterdam merchant. She displays her wealth with pride. Her dress is trimmed with white linen so fine it is almost transparent. She sports a fortune in pearls, and in her left hand she casually holds the knobbed handle of a folding fan. In 1639 this was still a rare and costly accessory.

Self-portrait, Rembrandt van Rijn, c. 1628

Even as an inexperienced young artist, Rembrandt did not shy away from experimenting. Here the light glances along his right cheek, while the rest of his face is veiled in shadow. It takes a while to realize that the artist is gazing intently out at us. Using the butt end of his brush, Rembrandt made scratches in the still wet paint to accentuate the curls of his tousled hair.

Self Portrait as the Apostle Paul, Rembrandt van Rijn, 1661

This is Rembrandts first and only self portrait in the guise of a biblical figure. The manu and the sword projecting from his cloak are Pauls traditional attributes. Like the other apostles Rembrandt painted in the same period, Paul too is a real, everyday person. By using his own likeness here Rembrandt encourages a direct bond with the saint.

The Sampling Officials of the Amsterdam Drapers Guild, known as The Syndics, Rembrandt van Rijn, 1662

This is Rembrandts first and only corporate group portrait. The Syndics stands out for its exceptionally large format and more than life-sized figures. All eyes of the sampling officials who assessed the quality of dyed cloth are turned to us and one figure even rises from his chair as if to acknowledge our presence. Because of the low vantage point, the table seems to jut out of the picture.

Man in Oriental Dress, Rembrandt van Rijn, 1635

Rembrandt manipulated light in a highly personal way. Here, the mans turban and the right side of his face are brilliantly illuminated, while the left side is in shadow. Exotic character heads like this they are not portraits were extremely popular in the 17th century; early on, they were widely copied and imitated. They were known as Turkish tronies.

Still Life with Peacocks, Rembrandt van Rijn, c. 1639

In Rembrandts time, peacocks were a delicacy for the well-to-do: the meat was used as filling for pasties. After being slaughtered, the birds were hung upside down to drain their blood, as Rembrandt has depicted in this pantry. He must have been fascinated by the plumages magnificent markings and dazzling colours: blue, green and yellow ochre.

Marten Soolmans (1613-1641), Rembrandt van Rijn, 1634

Marten and Oopjen are the only couple that Rembrandt painted life-size, standing, and at full-length. Martens father came to Amsterdam from Antwerp as a Protestant refugee. He made his fortune as the owner of a sugar refinery. Marten married Oopjen in 1633. He was 20 and a law student, ready for a career in politics. Sadly, he died a mere eight years later.

The Windmill at Wijk bij Duurstede, Jacob Isaacksz. van Ruisdael, c. 1668 - c. 1670

The windmill rises up majestically, defying the dark rain clouds and overshadowing the castle and the church of Wijk bij Duurstede. The River Lek flows in the foreground. This painting is world famous, and rightly so. In this impressive composition, Ruisdael united all the typical Dutch elements the low-lying land, the water and the expansive sky manipulating them to converge on the equally characteristic Dutch watermill.

The Haarlem-born painter Jacob van Ruisdael (ca. 1628-1682) began to paint at an early age. His first work dates from 1646. Ruisdael probably had lessons from his father, but his uncle, the artist Salomon van Ruysdael, must also have been a great influence on the young painter. As well as being a painter, Ruisdael was also a doctor. He painted not only woodland landscapes with strong, central motifs such as ruins, watermills and oaks, but also cityscapes and seascapes. Ruisdael's compositions are often more imposing than reality. His 'Bentheim Castle' and 'Windmill at Wijk bij Duurstede' are good examples of this.

Ruisdael travelled in order to get inspiration for his paintings. On these trips he made many drawings. There are also some etchings which he is known to have made. In the 1650s, probably around 1656, Jacob van Ruisdael moved to Amsterdam, where he lived and worked until his death in 1682.

View of Haarlem from the Northwest, with the Bleaching Fields in the Foreground, Jacob Isaacksz. van Ruisdael, c. 1650 - c. 1682

Foreigners experience the flat Dutch landscape as having a straight, low horizon extending under a vast sky with billowing cumulus clouds. This is how Ruisdael painted the Haarlem skyline in the distance, recognizable by the high roof of St Bavos. Lengths of cloth bleaching in the sun lie at the foot of the dunes in the foreground. The Haarlem linen industry relied on the pure dune water.

Landscape with Waterfall, Jacob Isaacksz. van Ruisdael, c. 1668

The tiny figures in this grand landscape with a rushing waterfall are almost lost. The composition is dominated by gnarled trees, barren tree trunks, and roiling water. The dramatic cycle of natures birth and decay is almost tangible. A church tower rises up in the distance like a beacon of peace.

Bentheim Castle, Jacob Isaacksz. van Ruisdael, 1650 - 1682

Bentheim Castle still exists. It is located on the GermanDutch border region, but the high mountains Ruisdael depicted in this painting are not found there. Fantasy and reality are interwoven in this scene. The painter made a dozen paintings of this castle, each with a different mountain landscape. In 1816, Goethe, the famous German writer, rightly called Ruisdael a poet.

Winter Landscape, Jacob Isaacksz. van Ruisdael, c. 1665

Ruisdael painted around 25 winter landscapes. This scene is dominated by ominous dark clouds, and lit from the left by low, raking sunlight. The warmly dressed figures on the ice seem insignificant in the face of this inclement weather. A cheerful crowd of ice skaters would have been out of place in such a wintery landscape by Ruisdael.

Forest scene, Jacob Isaacksz. van Ruisdael, 1653

River Landscape with Ferry, Salomon van Ruysdael, 1649

With four horses, five dogs, two cows and eleven people on board, this slender ferry appears to be heavily loaded. The boats in the distance are also crowded with passengers. Salomon van Ruysdael was the interpreter par excellence of the flat, watery Dutch landscape. Here he used a tried-and-tested compositional formula: at right, a bank lined with tall trees, and at left, a body of water stretching out to the horizon.

Salomon van Ruysdael (1600/03-1670) was called De Goyer until he and his brother Isaack changed their name to Ruysdael, after the castle near their father's native Blaricum. Salomons nephew Jacob was the only member of the family to spell their new name with an 'i': Ruisdael. Salomon lived in Haarlem, and seems to have travelled widely in the Netherlands since he painted views of various Dutch cities. Although we no longer know who taught Salomon van Ruysdael landscape painting, his early work was clearly influenced by Esaias van de Velde, who painted vivid river views. In the 1630s, Ruysdael and Jan van Goyen developed a new, monochrome style.

Cimon and Pero (Roman Charity), Peter Paul Rubens, 1630 - 1640

Born in Sieggen in Germany, Peter Paul Rubens (1577-1640) was a leading Flemish painter, draughtsman and diplomat in the 17th century. He studied under various masters, including Otto van Veen. Rubens travelled to Italy, where he experienced the impact of Classical art. There he also saw the work of modern Italian masters such as Caravaggio. Rubens spent time in Spain on a diplomatic mission. In 1609, he was appointed court painter to Archduke Albrecht of Austria (at Brussels). At the same time, he accepted many major commissions for churches and public buildings.

Working in the Flemish Baroque style, Rubens was famous for his proficiency in every genre: in depictions of biblical and mythological scenes and historical events, in portraits, landscapes, still lifes and depictions of animals. His versatility is also evident in his many drawings. Rubens maintained a large studio with numerous pupils. His home and workplace in Antwerp can still be seen today.

Portrait of a Girl Dressed in Blue, Johannes Cornelisz. Verspronck, 1641

Why is this portrait so popular? Because it depicts an adorable child dressed in her Sunday best? As was the custom of the day, the young girl is portrayed as a small adult lady. That she is playing a role is betrayed only by her facial . Unfortunately, we know nothing about her identity or her family. Perhaps she resided in Haarlem, like the portraitist Verspronck.

The Battle of Leghorn, 14 March 1653 ，Reinier Nooms （1653-54）

River view near Deventer, Salomon van Ruysdael, 1645

View of a village, Salomon van Ruysdael, 1663

Adolf and Catharina Croeser, Known as The Burgomaster of Delft and his Daughter, Jan Havicksz. Steen, 1655

Legs wide apart and his right arm akimbo, Croeser sits on the stoop of his house on the Oude Delft canal in Delft. His thirteen-year-old daughter Catharina looks straight out at us. Jan Steen included a narrative element in this portrait: a poor woman and child beg for alms from the wealthy grain merchant. In 1657, just two years after this portrait was made, Croeser stood surety for Steen, who was seriously in debt.

The Merry Family, Jan Havicksz. Steen, 1668

This boisterous family is making a lot of noise: the father sings at the top of his lungs while raising a glass; the mother and grandmother chime in; and the children are either blowing into a wind instrument or smoking a long pipe. The note hanging from the mantelpiece gives away the moral of the story: As the old sing, so shall the young twitter. What will become of the children if their parents set the wrong example?

Self-portrait, Jan Havicksz. Steen, c. 1670

A distinguished citizen dressed in decorous black is seated before a red curtain and tassel. Jan Steen, known primarily for his humorous scenes with simple folk, portrayed himself here as utterly self-assured. He also regularly included himself in other paintings, but then usually in a comic role.

Jan Havicksz Steen (ca. 1625-1679) was born in Leiden, the son of a brewer. Educated at a Latin school, in 1646 he enrolled at Leiden university yet never graduated. Instead, he took an apprenticeship as a painter, although little is known about this. Eighteenth-century biographers record that his teachers included Nicolaus Knupfer, Adriaen van Ostade and landscapist Jan van Goyen. In 1648, already a master, he helped set up a guild of artists in Leiden, in which he served in various capacities. Steen painted a huge number of works, especially genre paintings showing cheerful people having fun. He also painted portraits, as well as historical scenes. To augment his income, Steen started a brewery in Delft and opened a tavern at his house. Biographers have described him as a man with little sense of restraint, yet that seems to be based more on his paintings than on hard fact. Jan Steen is buried in St Pieter's church in Leiden.

The Feast of St Nicholas, Jan Havicksz. Steen, 1665 - 1668

The feast of St Nicholas takes place in December. In the Netherlands, it has been celebrated in the same way for centuries. Good children receive gifts from the saint. The little girl in the foreground, for instance, has a bucket full of treats. Naughty children, like the wailing boy at the left, get only a switch (a bundle of twigs) in their shoe. Jan Steen was a born storyteller. He succeeded in incorporating all of the elements of the popular feast in this picture.

View of Houses in Delft, Known as The Little Street, Johannes Vermeer, c. 1658

This is an unusual painting in Vermeers oeuvre, and remarkable for its time as a portrait of ordinary houses. The composition is as exciting as it is balanced. The old walls with their bricks, whitewash, and cracks are almost tangible. The location is Vlamingstraat 4042 in Delft. Vermeers aunt Ariaentgen Claes lived in the house at the right, with her children, from around 1645 until her death in 1670.

The Milkmaid, Johannes Vermeer, c. 1660

A maidservant pours milk, entirely absorbed in her work. Except for the stream of milk, everything else is still. Vermeer took this simple everyday activity and made it the subject of an impressive painting the woman stands like a statue in the brightly lit room. Vermeer also had an eye for how light by means of hundreds of colourful dots plays over the surface of objects.

Today Johannes Vermeer (1632-1675) is one of the most celebrated Dutch 17th century masters. Yet for centuries little importance was attached to his name. Works now known as Vermeers were attributed to other artists. It was only in the 1870s that he was rediscovered and 35 paintings identified as his. The son of a silk worker who bought and sold art, Vermeer lived and worked in Delft all his life. He may have served his apprenticeship under fellow townsman Carel Fabritius. In 1653, he joined the local artists guild, which he led at various times. Vermeers early paintings of historical scenes reveal the influence of the Utrecht Caravaggists. His later paintings are meticulous compositions of interiors featuring one or two figures, usually women. These are intimate genre paintings in which the subject is engaged in some everyday activity, usually in the light of a nearby . Vermeer could render the way light plays on objects like few others. The Rijksmuseum has three domestic interiors by Vermeer and one outdoor scene: his world-famous Little Street.

Woman Reading a Letter, Johannes Vermeer, c. 1663

Enjoying a quiet, private moment, this young woman is absorbed in reading a letter in the morning light. She is still wearing her blue night jacket. All of the colours in the composition are secondary to its radiant lapis lazuli blue. Vermeer recorded the effects of light with extraordinary precision. Particularly innovative is his rendering of the womans skin with pale grey, and the shadows on the wall using light blue.

The Love Letter, Johannes Vermeer, c. 1669 - c. 1670

Vermeer chose an unusual vantage point for this painting. From a dim space in the foreground, a glimpse is afforded of another room with a domestic scene. An elegantly dressed woman looks up expectantly at a maidservant, who has just handed her a letter. The seascape on the wall behind them may well allude to the epistles subject: during the 17th century, the sea was often compared to love, and the lover to a ship.

Girl Knitting in the Dunes, Bernardus Johannes Blommers, c. 1870 - c. 1900