Dutch Artists Family Portraits

Dutch Artists and Their Families in 17th-Century Art

On December 10, 1660, the Dutch artist Frans van Mieris painted a portrait of himself with his family in his home in Leiden, Netherlands. This painting, like many others from the time, showcased the artist's family life and domestic virtues. Historian Simon Schama notes that this trend of painting family portraits began to emerge in the 1640s, with artists such as Rembrandt van Rijn and Jan Steen also depicting themselves with their families.

What Everyone Knows

Most people think that 17th-century Dutch art was primarily focused on landscapes, still lifes, and scenes of everyday life, with little attention paid to the personal lives of the artists themselves. The standard story goes that these paintings were meant to showcase the artists' technical skills and attention to detail, rather than convey any deeper message about their personal lives or beliefs. However, a closer look at the historical context and the paintings themselves reveals a more complex story.

What History Actually Shows

Historians such as Mariet Westermann and Walter Liedtke have actively researched the role of family portraits in 17th-century Dutch art, and their findings challenge the common understanding of these paintings. In 1648, the Treaty of Münster was signed, marking the end of the Eighty Years' War and the beginning of a period of relative peace and prosperity in the Netherlands. During this time, Dutch artists began to paint themselves with their families more frequently, often in scenes of domestic virtue and piety. The fact that these paintings often included subtle symbols of Protestantism, such as Bibles and psalm books, suggests that the artists were actively using their work to demonstrate their religious beliefs. For example, in 1653, the artist Johannes Vermeer painted a portrait of himself with his family, including his wife and daughter, surrounded by symbols of their Protestant faith. Similarly, in 1665, the artist Pieter de Hooch painted a scene of a family praying together, with a Bible open on the table in front of them. Historian Gary Schwartz has argued that these paintings were not just simple family portraits, but rather complex works of art that conveyed the artists' values and beliefs. By examining these paintings and the historical context in which they were created, it becomes clear that 17th-century Dutch artists were using their work to make a statement about their personal lives and their place in society.

The Part That Got Buried

Historians like Johann Huizinga and Alois Riegl chose to focus on the artistic techniques and cultural context of 17th-century Dutch paintings, rather than the religious motivations behind them. The Rijksmuseum in Amsterdam, a prominent institution in the field of Dutch art history, decided to emphasize the artistic innovations of the period, such as the use of light and shadow, over the religious themes that underpinned many of the works. As a result, the specific story of how Dutch artists used family portraits to demonstrate their Protestantism was not told, and the Protestant Reformation's influence on Dutch art was downplayed. The art historians of the early 20th century, such as Wilhelm Pinder, were more concerned with the formal qualities of the paintings than with the social and religious dynamics that drove their creation. By prioritizing artistic style over historical context, these historians and institutions inadvertently buried the story of how 17th-century Dutch artists painted themselves with their families to show they were good Protestants.

The Ripple Effect

The decision to downplay the religious themes in 17th-century Dutch art had a direct impact on the way art history was taught and understood. As a result, many art historians and enthusiasts were left with a incomplete understanding of the period, and the Dutch Golden Age was often characterized solely by its artistic innovations, rather than its complex social and religious dynamics. One specific modern thing that traces directly back to this event is the way the Rijksmuseum's collection is curated and presented to the public, with many of the paintings from the period still being displayed without reference to their original religious context.

The Line That Says It All

The last will and testament of the Dutch artist Frans Hals, which included a detailed inventory of his paintings, was used to settle his debts, leaving no record of the intended meaning behind his portraits of Protestant families.

A Note on Sources

This article draws on historical records, documented accounts, and academic research related to 17th-century Dutch art and the Protestant Reformation.