Gerard ter Borch

From the series Dutch Masters

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.

Memorial Portrait of Moses ter Borch Memorial Portrait of Moses ter Borch

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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

Man te paard, van achteren gezien Man te paard, van achteren gezien

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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

The Ratification of the Treaty of Münster The Ratification of the Treaty of Münster

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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

Gallant Conversation, Known as ‘The Paternal Admonition’ Gallant Conversation, Known as ‘The Paternal Admonition’

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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)

Woman in Peasant Costume Woman in Peasant Costume

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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

Helena van der Schalcke Helena van der Schalcke

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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

Woman at a Mirror Woman at a Mirror

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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

Godard van Reede (1588-1648), Lord of Nederhorst. Delegate of the Province of Utrecht at the Peace Conference at Münster (1646-48) Godard van Reede (1588-1648), Lord of Nederhorst. Delegate of the Province of Utrecht at the Peace Conference at Münster (1646-48)

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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

Gallant Conversation, Known as ‘The Paternal Admonition’ Gallant Conversation, Known as ‘The Paternal Admonition’

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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

Woman in Peasant Costume Woman in Peasant Costume

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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