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. The three men on the left wear old- the fireplace mantel of the governors’ meet- Gallery of Art. fashioned pleated ruff collars, while the two ing room on the floor below. at right already sport the more fashionable Paintings of governors and admin- The exhibition is made possible by the Hata Foundation. flat, pointed collar that had just come into istrators of civic and social institutions vogue. In addition to the highlights pro- came out of the older tradition of militia This program is also supported, in part, by vided by the collars, Flinck has countered paintings. These depict companies of public funds from the Netherlands Cultural Services and through the generosity of the array of blacks in the men’s costumes guardsmen — for example, Nicolaes Pick- Mrs. Henry H. Weldon. with the sumptuous reds and earth tones enoy’s Company of the District IV under of the luxurious oriental carpet that covers the Command of Captain Jan Claeszn van This brochure was written by Henriette de Bruyn Kops, department of northern baroque paintings, the table. The gathering exudes gravitas; Vlooswijck, 1642 (fig. 5) — and were painted and produced by the department of exhibition the only sign of conviviality is a tall flute, on large canvases or panels destined for the programs and the publishing office. Text copy- half - filled with red wine, on the table. walls of their headquarters. Pickenoy, who right © 2012 Board of Trustees, National Gallery Thirteen years later, when Bartholo­ was Van der Helst’s teacher, painted this of Art, Washington meus van der Helst portrayed a new set of canvas as one of six grand militia company General Information governors, the atmosphere in the board- portraits — including Rembrandt’s master- Admission to the National Gallery of Art and all room seems to have loosened considerably. ful Night Watch, 1642 — that decorated the of its programs is free of charge, unless other- The informality of Van der Helst’s style Great Hall of the Harquebusiers. Of the 135 wise noted. captured the dynamic interactions of the documented Dutch militia paintings of the Hours: group and the geniality of the occasion: sixteenth and seventeenth centuries, no Monday – Saturday, 10:00 am – 5:00 pm the governors are feasting on oysters and fewer than 57 were commissioned by civic Sunday, 11:00 am – 6:00 pm empty shells litter the floor. In 1655, the guard companies in Amsterdam, and 35 of Gallery website: www.nga.gov four governors were quite a bit younger these depicted groups of Harquebusiers. than those who had sat for Flinck, which Civic guard companies not only For information about accessibility to galleries may partially account for the more relaxed defended Dutch cities against outside and public areas, assistive listening devices, sign- language interpretation, and other services and atmosphere in Van der Helst’s work. Seated aggressors, quelled local disturbances, programs, inquire at the Information Desks, con- around the table are, from the left, Cornelis and policed criminal behavior, but they sult the website (nga.gov), or call 202.842.6690 Witsen, Roelof Bicker (shown squeezing also provided military pomp at important (TDD line 202.842.6176). lemon juice onto an oyster), Gerrit Reynst, ceremonies. Thus many militia paintings, cover Fig 2, detail and red - haired Simon van Hoorn. Reynst, including Pickenoy’s, show a company and casually holding his wineglass, has turned its officers assembled as if preparing to fall to face the viewer. The woman entering the into formation. In times of war, such as

fig. 5 Nicolaes Pickenoy, Company of the District IV under the Command of Captain Jan Claeszn van Vlooswijck, 1642, oil on canvas, Rijksmuseum, Amsterdam, on loan from the City of Amsterdam.

Civic Pride Dutch Group Portraits

National Gallery of Art | Through March 2017 A new type of portraiture appeared in the viewer’s presence. Though the paintings for those who had earlier been captain of northern Netherlands in the seventeenth are similar in concept and size, the artists’ a city district. Thus the governors in these century: large group portraits depicting the stylistic approaches, as well as the attire two paintings belonged to Amsterdam’s leadership of professional and civic organi- and demeanor of the governors, nonethe- elite. Indeed, all but one of them were zations. Guild administrators, government less reflect the different times in which members of the city council, while three of officials, board members of charitable insti- the men were portrayed. Flinck’s work them later served as burgomaster (mayor) tutions, and officers of militia companies displays the restraint deemed appropriate of Amsterdam. Strategic marriages over frequently commissioned distinguished for depictions of solid citizenship in Dutch multiple generations resulted in several artists to paint their portraits on a single, art through the 1640s. Van der Helst’s later of the men being related, strengthen- oversized canvas or panel. Often depicting painting still conveys the respectability of ing the close ties among members of the the sitters in the midst of a meeting or a office but is executed in a loose, fluid, and town’s elite. meal, these group portraits emphasized the elegant style, characteristic of tastes that A tower of the medieval city fortifica- members’ shared responsibilities, personal came into fashion midcentury. tions and its grounds had initially served interactions, and civic - mindedness, and The governors seen in both paintings as the Kloveniersdoelen, but the cramped they continue to provide a remarkable were responsible only for the operations of quarters plus the increased prestige of the visual record of the inner workings of the Harquebusiers’ headquarters, leaving Harquebusiers caused the city council to society at the height of the Dutch Repub- the military functions of the company in finance a major addition fig.( 3). The Great lic’s presence on the global stage. Although the hands of colonels and captains. The Hall, completed by 1627, was the largest hundreds of group portraits were painted Harquebusiers were called Kloveniers after public space in Amsterdam at the time for town halls, militia headquarters, guild the klover, an improved version of the har- and quickly became the preferred site for halls, and boardrooms of charitable institu- quebus and the forerunner of the musket. important municipal functions and recep- tions, they are rarely found in collections or Their headquarters, like those of the other tions in honor of foreign dignitaries. exhibitions outside the Netherlands. two militias, had an adjacent practice range In the early 1640s the Harquebusiers Two paintings entitled The Governors where guardsmen could sharpen their began to commission group portraits of of the Kloveniersdoelen, one executed in shooting skills — hence the buildings were guardsmen and their leadership to decorate 1642 (fig. 1) by Govert Flinck (1615 – 1660), all known as doelen (targets). the Great Hall. In 1642, the four governors the other painted in 1655 (fig. 2) by Bar- The Harquebusiers’ building (Klove- in charge of the Kloveniersdoelen asked tholomeus van der Helst (1613 – 1670), niersdoelen) was not just used for gather- Flinck to portray them on a canvas des- immortalize the civic pride of those who ings of guardsmen but was also rented out tined for a prominent spot above one of governed the headquarters of the Klove- for official receptions and festive dinners the hall’s two grand fireplaces. The men niers (or Harquebusiers), one of Amster- hosted by the mayors and the city council. seated around the table are, from the left, dam’s three militia companies. The works It also served as a public tavern. Because Jacob Willekens, Pieter Reael, Jan Claesz are on long - term loan to the National the governors shared in the profits from Vlooswijck, and Albert Coenraetsz Burgh. Gallery of Art from the Rijksmuseum the events held there, a governorship was The administrator of the building, Jacob and the Amsterdam Museum. a lucrative post that was generally reserved Pietersz Nachtglas, solemnly presents the Govert Flinck and Bartholomeus van der Helst were two of the most renowned fig. 1 Govert Flinck, The Governors of the Kloveniers- portraitists of their time. Flinck, who doelen, 1642, oil on canvas, trained under Rembrandt in the early Rijksmuseum, Amsterdam, on loan from the City of 1630s, became an independent master in Amsterdam (top).

1636. Like his famous teacher, he special- fig. 2 Bartholomeus van ized in both history paintings and fash- der Helst, The Governors of the Kloveniersdoelen, ionable portraiture. Van der Helst was 1655, oil on canvas, Amsterdam Museum sought after for the elegant realism of his (bottom).

portraits and was a favorite artist of the fig. 3 Caspar Commelin, Amsterdam militia companies. In their Kolveniers Doelen [sic] in Beschryvinge van Amster- paintings of the governors, both artists dam, 2 vols., Amsterdam used gestures and expressions to enliven (1693), vol. 2, book IV, p. 665 (left). the scene, and conveyed a sense of imme- diacy by having the foreground figure turn around in his chair to acknowledge the 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. The three men on the left wear old- the fireplace mantel of the governors’ meet- Gallery of Art. fashioned pleated ruff collars, while the two ing room on the floor below. at right already sport the more fashionable Paintings of governors and admin- The exhibition is made possible by the Hata Foundation. flat, pointed collar that had just come into istrators of civic and social institutions vogue. In addition to the highlights pro- came out of the older tradition of militia This program is also supported, in part, by vided by the collars, Flinck has countered paintings. These depict companies of public funds from the Netherlands Cultural Services and through the generosity of the array of blacks in the men’s costumes guardsmen — for example, Nicolaes Pick- Mrs. Henry H. Weldon. with the sumptuous reds and earth tones enoy’s Company of the District IV under of the luxurious oriental carpet that covers the Command of Captain Jan Claeszn van This brochure was written by Henriette de Bruyn Kops, department of northern baroque paintings, the table. The gathering exudes gravitas; Vlooswijck, 1642 (fig. 5) — and were painted and produced by the department of exhibition the only sign of conviviality is a tall flute, on large canvases or panels destined for the programs and the publishing office. Text copy- half - filled with red wine, on the table. walls of their headquarters. Pickenoy, who right © 2012 Board of Trustees, National Gallery Thirteen years later, when Bartholo­ was Van der Helst’s teacher, painted this of Art, Washington meus van der Helst portrayed a new set of canvas as one of six grand militia company General Information governors, the atmosphere in the board- portraits — including Rembrandt’s master- Admission to the National Gallery of Art and all room seems to have loosened considerably. ful Night Watch, 1642 — that decorated the of its programs is free of charge, unless other- The informality of Van der Helst’s style Great Hall of the Harquebusiers. Of the 135 wise noted. captured the dynamic interactions of the documented Dutch militia paintings of the Hours: group and the geniality of the occasion: sixteenth and seventeenth centuries, no Monday – Saturday, 10:00 am – 5:00 pm the governors are feasting on oysters and fewer than 57 were commissioned by civic Sunday, 11:00 am – 6:00 pm empty shells litter the floor. In 1655, the guard companies in Amsterdam, and 35 of Gallery website: www.nga.gov four governors were quite a bit younger these depicted groups of Harquebusiers. than those who had sat for Flinck, which Civic guard companies not only For information about accessibility to galleries may partially account for the more relaxed defended Dutch cities against outside and public areas, assistive listening devices, sign- language interpretation, and other services and atmosphere in Van der Helst’s work. Seated aggressors, quelled local disturbances, programs, inquire at the Information Desks, con- around the table are, from the left, Cornelis and policed criminal behavior, but they sult the website (nga.gov), or call 202.842.6690 Witsen, Roelof Bicker (shown squeezing also provided military pomp at important (TDD line 202.842.6176). lemon juice onto an oyster), Gerrit Reynst, ceremonies. Thus many militia paintings, cover Fig 2, detail and red - haired Simon van Hoorn. Reynst, including Pickenoy’s, show a company and casually holding his wineglass, has turned its officers assembled as if preparing to fall to face the viewer. The woman entering the into formation. In times of war, such as

fig. 5 Nicolaes Pickenoy, Company of the District IV under the Command of Captain Jan Claeszn van Vlooswijck, 1642, oil on canvas, Rijksmuseum, Amsterdam, on loan from the City of Amsterdam.

Civic Pride Dutch Group Portraits

National Gallery of Art | Through March 2017