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A Windmill on a Polder Waterway,…
Paul Joseph Constantin Gabriël, c. 1889, painting, SK-A-1505
‘Our country is colourful, juicy, fat. (...) I repeat, our country is not dull, not even in dull weather, the dunes are not dull either’, Constant Gabriël wrote in a letter. Unlike many artists of the Hague School, he preferred painting fine summer days. Here there are two: the grass, sky and…
On display in room 1.18
Worship of the Golden Calf
Lucas van Leyden, c. 1530, painting, SK-A-3841
On display in room 0.6
Portrait of Don Ramón Satué
Francisco de Goya, 1823, painting, SK-A-2963
Goya was well-known as a court-painter and for his idiosyncratic prints. He had already turned 76 when he painted this powerful portrait. Don Ramón was a judge in the highest tribunal of Castile. The casual pose and open collar have an informality Goya usually reserves for the portraits of his most…
On display in room 1.13
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 Philips wing, room 1.2
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
The Merry Fiddler
Gerard van Honthorst, 1623, painting, SK-A-180
On display in room 2.1
Children of the Sea
Jozef Israëls, 1872, painting, SK-A-2382
This delightful scene contains a moral. These children from a poor fishing village with their shabby clothes and broken toys, are playing out their own future. The oldest boy carries the burden of his family on his shoulders, while the boat represents the harsh life at sea. Jozef Israëls first…
On display in room 1.18
Portrait of Jacob Cornelisz van…
Jacob Cornelisz van Oostsanen (workshop of), c. 1533, painting, SK-A-1405
Self portraits signal a growing awareness among artists of their own role. This work was long thought to be the earliest self portrait of an artist in the Northern Netherlands. Jacob Cornelisz is looking directly at the viewer; behind him on a piece of paper is the date, 1533, and the artist’s…
On display in room 0.6