Ter Borch excelled at painting scenes with elegant young women in rustling silk satin dresses. In addition, he made lifelike portraits with a very fine brush. He was also a prolific draughtsman.


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Artistic family
Gerard ter Borch grew up in an artistic family. His father, half-sister Gesina and two half-brothers Moses and Harmen were also artists. The museum owns work by all of them. Gerard and Gesina together painted a portrait of Moses, who died young, which also hangs in the museum.
Memorial Portrait of Moses ter Borch Gerard ter Borch II (1617-1681), Gesina ter Borch (1630-1690), oil on canvas, 1667-1669


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Early start
Ter Borch began drawing at a very young age. The museum has drawings he made as a seven-year-old boy.
Horse Rider, Gerard ter Borch (II), 1625


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The Treaty of Münster
The peace treaty that the Netherlands ratified with Spain in 1648 in Münster, Germany, marked the end of the Eighty Years’ War. The Netherlands became independent. Ter Borch was present at this momentous event and recorded it in a painting, which now hangs here in the museum.
The Ratification of the Treaty of Münster Gerard ter Borch (1617–1681), oil on copper, 1648


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Shimmering satin
The rendering of silk satin was considered a difficult technical feat, but Ter Borch was a master at it. This fabric is almost tangible in his paintings.
Gallant Conversation, Known as ‘The Paternal Admonition’, Gerard ter Borch (II), c. 1654 (detail)


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Sister Gesina
Gerard often used his younger half-sister Gesina as a model in his paintings. She can be recognized by her pointed nose and timid gaze.
Woman in Peasant Costume Gerard ter Borch (1617–1681), oil on panel, c. 1650–1660


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Society painter
Two-thirds of Ter Borch’s paintings are likenesses of prominent citizens. The youngest sitter is two-year-old Helena van der Schalcke, who is portrayed as a small adult.
Helena van der Schalcke Gerard ter Borch (1617-1681), oil on panell, c. 1648


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A ‘modern’ artist
Ter Borch painted scenes with figures in contemporary, fashionable clothing. In the 17th century, this genre of painting was referred to as ‘modern’.
Woman at a Mirror Gerard ter Borch (1617-1681), oil on panel, c. 1652


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Hyper-realistic portraits
Ter Borch captured the faces of his clients with photographic accuracy. It seems like he even immortalized their mood. In this small portrait he provided Godard van Reede with an authoritarian glance that tolerates no contradiction.
Godard van Reede, Lord of Nederhorst, Gerard ter Borch (II), 1646 - 1648


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Open-ended
Many of Ter Borch’s scenes feature a seemingly random moment, with the personages discussing something with each other. What is the conversation about and how does it end?
Gallant Conversation, Known as ‘The Paternal Admonition’ Gerard ter Borch II (1617-1681), oil on canvas, c. 1654


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A little goes a long way
Ter Borch is a master of suggestion. His scenes usually feature just a few figures and often only one. Even when the artist depicts a single person, he still conjures up an entire world.
Woman in Peasant Costume Gerard ter Borch (1617–1681), oil on panel, c. 1650–1660