Baroque Nationalism: Dutch Seascapes, Landscapes and Maps

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Cornelis Claesz van Wieringen paid very careful attention to detail such as the uniforms and weapons used. He understood the subject matter. He had been a sailor before he became a painter. His use of a high perspective and wide angle allowed for more detail in the scene. Dutch seascape painting was mainly maritime accounts of famous battles or displays of the powerful and glorious fleets. The emergence in the 17th century of seascape painting functioned as important public monuments that were often commissioned by town councils or admiralty colleges. The predominately Protestant Dutch population preferred paintings that expressed pride in their country and images that depicted their independence from Spain. Hendrik Cornelisz Vroom is considered to be the father of Dutch Maritime painting. He belonged to the Guild of St. Luke of Haarlem and was able to develop his style with out being dictated to by the church or aristocracy. Cornelis Claesz van Wieringen, also a citizen of Haarlem, was a student of Vroom. Rembrandt van Rijn, the great Dutch Master of portraits also contributed to Dutch seascape painting. Although he painted only one known seascape, The Storm on the Sea of Galilee it has become part of one of the biggest museum heists in history. It was in the collection of The Gardner Museum in Boston until it was stolen in 1990. It has not yet been recovered.
The Maas at Dordrecht, Aelbert Cuyp, 1650
Page 1 and 2: Baroque Nationalism: Dutch Seascape
Page 3 and 4: Along with this new political indep
Page 5 and 6: The Dutch nation was going through
Page 7 and 8: • Dutch seascape painting was usu
Page 9 and 10: • There are multiples ways a cart
Page 11 and 12: View of Haarlem with Bleaching Grou
Page 13 and 14: Ruisdael is visually describing eve
Page 15: Battle of Gibraltar Iyesha van den
Page 19 and 20: Leo Hollandicus, Nicolas Visscher,
Page 21 and 22: Printed Sources • Borngåsser, B.

Baroque Nationalism: Dutch Seascapes, Landscapes and Maps

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