Not for nothing did political circles in The Hague refer to her as La Rouïna Madre. Marie de’ Medici (1573-1642), the exiled widow of King Henry IV of France, had no right to the grand reception that befell her in Amsterdam.
After all, to be able to commission large paintings, one needs room to hang them. Additional, although circumstantial, proof of this is the fact that soon after its completion the old tradition of militia group portraits was revived with the commission of a group portrait from Thomas de Keyser (dated 1632). It seems safe to assume, therefore, that the Kloveniers‘ new headquarters were completed in 1627. Moreover, a document of 19 December 1630 refers to “the newly built quarters of the Doelen with vacant lots in front and behind” and the new building is also marked on a plan of 1627 for a new sewer for the hospital. For instance, it appears that the city council, which was accustomed to holding official banquets at the Kloveniersd oelen on a regular basis, did not dine there between 16, an indication that the new extension may have been constructed during those years. This theory dates the extension to 1638 or 1639 but there are indications that it was built at least a decade earlier. One of the theories concerning the date of origin of the Kloveniers extension is that its construction was triggered by Marie de’ Medici’s visit to Amsterdam in 1638. Borsman, ground floor plan of the Kloveniers building, 1713, City Archives, Amsterdam The Kloveniers headquarters soon became too cramped to accommodate its members and guests in any comfort and a grand extension was built next to the medieval tower, overlooking the Amstel River.
It is estimated that at the height of the civic guards, some 10,000 men were members of one of the three civic guard companies, but few of them had the means or the status to be immortalised in the companies’ group portraits. We saw that the city’s expansion between 1578 to 1665, which effectively meant an increase in population and, as the number of districts patrolled by the guards grew, an increasing number of civic guards, still divided over the three original companies. In the first post on Amsterdam’s civic guards paintings, we left the Kloveniers (the riflemen’s civic guards company, so named after their rifle, the “klover”) in their cramped medieval tower Swijgh Utrecht with adjacent rickety annex overlooking the Amstel River while the other two companies, the Crossbowmen and the Longbowmen enjoyed the luxury of far grander headquarters on the Singel (the Voetboogdoelen and the Handboogdoelen). The Kloveniers headquarters’ old building by David Vinckboons, 1599-1609, Rijksmuseum It has become a “must see” but for reasons that would have been alien to Rembrandt and the civic guards portrayed in it. It was architect Pierre Cuypers who, in his design for the Rijksmuseum (1880s), elevated the painting to its present day status: by designing the museum as a cathedral of art with the Night Watch on its high altar the painting became a national symbol rather than a painting in its own right. The painting has had mixed receptions in the past and even in the present: Ernst van de Wetering, at the time of the exhibition Rembrandt, Quest of a Genius in 2006, suggested that the painting was “an experiment gone wrong”, for example.
I certainly do not pretend in any way to provide the ultimate answer. Photo: RijksmuseumĬountless books and articles have been written about Rembrandt’s Company of District II commanded by Captain Frans Banninck Cocq of 1642, known today as the Night Watch, but in spite of this its many complexities have still not been fully addressed or understood.
#17th century portraiture free#
You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use.Rembrandt’s “Night Watch” in the Rijksmuseum, 1886. (7 1/4 x 5 3/4 in.) Type of Resource Still image Identifiers NYPL catalog ID (B-number): b17119615 Barcode: 33333159200209 Universal Unique Identifier (UUID): ed1436f0-c53f-012f-4eec-58d385a7bc34 Rights Statement The copyright and related rights status of this item has been reviewed by The New York Public Library, but we were unable to make a conclusive determination as to the copyright status of the item.
#17th century portraiture Pc#
Wallach Division of Art, Prints and Photographs: Picture Collection Shelf locator: PC COSTU-16-Du Topics Clothing & dress - Netherlands - 1600-1699 Men - Clothing & dress - Netherlands - 1600-1699 Dutch - Clothing & dress - 1600-1699 Genres Art reproductions Portraits Physical Description Photogravures Extent: Plate mark 19 x 15 cm. Names Luttichuys, Isaac, 1616-1673 (Artist) CollectionĬostume - 1600s - Dutch Dates / Origin Date Issued: 1890 - 1910 (Approximate) Library locations The Miriam and Ira D. TitlePortrait of a Dutch man, 17th century
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