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Roemer with a poem to Constantijn…

anonymous, 1619, BK-1983-15

Anna Roemers Visscher engraved one of her own poems in a wineglass as a gift for Constantijn Huygens. The verse contains a complaint and an exhortation: her pen has dried up, her brain has rusted. She asks Huygens to fetch her some water from the Helicon – where the Muses live – so her ink will flow…

On display in room 2.8

Still Life with a Gilt Cup

Willem Claesz. Heda, 1635, painting, SK-A-4830

In forty years, Willem Heda only ever painted still lifes. His paintings differ from the still lifes of his contemporaries: the colours are gentler, cooler and more harmonious. The bright yellow lemon peel is the only colour accent. In this work, Heda shows his skill in rendering different…

On display in Gallery of Honour

A Militiaman Holding a Berkemeyer,…

Frans Hals, c. 1628 - c. 1630, painting, SK-A-135

This cheery young man is raising his glass as if to propose a toast. Although the fashion was then for intricate, detailed paintings, Hals applied his paints with quick, confident strokes. This style of painting gives the subject a real sense of movement. This is most obvious with the right hand.

On display in Gallery of Honour

Still Life with Asparagus

Adriaen Coorte, 1697, painting, SK-A-2099

Most of Coorte’s paintings are small, intimate still lifes. With their simple subjects - asparagus, or berries - his paintings contrast starkly with the magnificent, extravagant still lifes then in vogue. Those pictures are all about the profusion of valuable objects and foods, while here the…

On display in room 2.24

The Fête champêtre

Dirck Hals, 1627, painting, SK-A-1796

Dirck Hals mostly painted people enjoying themselves, yet often included a moral message. In this painting of an ostensibly frivolous party, the chained monkey in the foreground represents man living in sin and unable to free himself. It is an admonition to the viewer to avoid licentious behaviour.…

On display in room 2.6

Banquet at the Crossbowmen’s Guild…

Bartholomeus van der Helst, 1648, painting, SK-C-2

Civic guards were the city’s militia. They were volunteers. In Amsterdam, each district had its own company with its own headquarters. In the 17th century, larger and grander buildings were built. Group portraits of the members lined the walls. In 1648, Van der Helst immortalised this Amsterdam…

On display in room 2.8

Lidded ewer

Adam van Vianen (I), 1614, BK-1976-75

On display in room 2.1

Self-portrait

Rembrandt van Rijn, c. 1628, painting, SK-A-4691

Despite his lack of experience, the young Rembrandt was not afraid to experiment. In this early self portrait the light brushes past his right cheek. The rest of the face is cloaked in shadow. It takes a moment to realise that the artist is staring intently, directly at the viewer. Rembrandt used…

The Night Watch

Rembrandt van Rijn, 1642, painting, SK-C-5

Rembrandt’s largest, most famous canvas was made for the Arquebusiers guild hall. This was one of several halls of Amsterdam’s civic guard, the city’s militia and police. Rembrandt was the first to paint figures in a group portrait actually doing something. The captain, dressed in black, is…

On display in Nightwatch gallery

Portrait of a Woman, Possibly Maria…

Rembrandt van Rijn, 1639, painting, SK-C-597

Maria Trip, daughter of one of Amsterdam’s wealthiest merchants, was twenty when Rembrandt painted her portrait. The artist placed Maria against a stone arch and devoted particular attention to the reflected light, the fashionable dress and jewellery. The costly garments are trimmed with strips of…

On display in room 2.8