NGA | Civic Pride Group Portraits from Amsterdam
fig. 4 Arent Coster the early stages of the Dutch revolt against (silversmith), Drinking Horn of the Harquebus- Spanish rule (1568 – 1648), the guardsmen iers’ Guild, 1547, buffalo could even be deployed at the front lines, horn mounted on silver pedestal, Rijksmuseum, leading one contemporary observer to Amsterdam, on loan from call them “the muscles and nerves” of the the City of Amsterdam. Dutch Republic. Paintings of governors of civic insti- tutions, such as those by Flinck and Van der Helst, contain fewer figures than do militia group portraits, but they are no less visually compelling or historically signifi- cant. It was only through the efforts of such citizens and organizations that the young Dutch Republic achieved its economic, political, and artistic golden age in the sev- enteenth century. The numerous portraits Harquebusiers’ ceremonial drinking horn room with a platter of fresh oysters is likely of these remarkable people, painted by to the governors. The vessel, a buffalo horn to be Geertruyd Nachtglas, the adminis- important artists, allow us to look back at supported by a rich silver mount in the trator of the Kloveniersdoelen, who had that world and envision the character and form of a stylized tree with a rampant lion assumed that position in 1654 following the appearance of those who were instrumen- and dragon (fig. 4), had been fashioned in death of her father Jacob (seen holding the tal in creating such a dynamic and success- 1547 and was displayed at important events. drinking horn in Flinck’s work). Because ful society. The Harquebusiers’ emblem, a griffin’s the Great Hall was already fully decorated, claw, appears on a gilded shield on the Van der Helst’s painting was installed over This exhibition was organized by the National wall.
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