Teacher's Guide - Detroit Institute of Arts

Teacher’s 

Guide 

HOW TO USE THIS 

TEACHER’S GUIDE: 

= 

Before your exhibition 

visit, give students a 

preview of what they will 

see and learn 

= 

Incorporate this information 

into classroom 

lessons and activities 

before and after your visit 

= 

Give copies to parent 

chaperones for use during 

visit (the DIA requires one 

chaperone for every ten 

students) 

Go to 

www.dia.org to 

download this 

guide and view 

color images or for more 

information on the 

exhibition and DIA 

programs and services. 

GERARD TER BORCH, A Lady at her 

Toilet, ca. 1660, The Detroit 

Institute of Arts 

—1—

TABLE OF CONTENTS 

Map of Exhibition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Page 3 

Exhibition Summary and Interpretive Elements . . . . . . . . . . . . . . . . . . . . . . .Pages 4-6 

Exhibition Walkthrough with Descriptions of Galleries and Audio Stops . . . . . . . . 

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Pages 7-12 

Historical Background 

Biography of Gerard ter Borch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Page 13 

Netherlands and New Netherlands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Page 14 

Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Page 15 

Map of 17 th -Century Europe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Page 16 

Links to Curriculum Standards for grades 5— 12 . . . . . . . . . . . . . . . . . .Pages 17-18 

= Arts Education 

= 

Social Studies 

= English Language Arts 

= 

World Languages 

Discussion Questions and Classroom Activities . . . . . . . . . . . . . . . . . . . .Pages 19-20 

Resources: Books and Web sites . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Pages 21-22 

Vocabulary List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Page 23 

Gerard ter Borch was organized by the American Federation of Arts, New York, and the 

National Gallery of Art, Washington. This exhibition was supported by an 

indemnity from the Federal Council on the Arts and the Humanities. 

In Detroit, support has been provided by the Michigan Council for Arts and Cultural Affairs 

and the City of Detroit. 

—2—

A 

Y 

A 

A 

AY 

GALLERY 2 

THE DEVELOPMENT OF 

GENRE SUBJECT MATTER: 

SCENES DRAWN FROM 

A 

A 

GALLERY 1 

EARLY PAINTINGS 

2 Youth Audio Stops 

4 Adult Audio Stops 

A 

A 

EVERYDAY LIFE 



Y 

A 

Y 

Ter Borch Timeline 

Y 

A 

GALLERY 3 

THE 

Intro Gallery 

REFINEMENT OF 

GENRE DURING 

Brochure 

Holder 

Audio Tour 

Pick-Up 

Y 

THE 1660S 



A 

Textile Touch Station 

Y 

Entry 

W284 

GALLERY 4 

Ter Borch 

Entry 

Y 

PERFECTION OF PORTRAITURE 

1 Youth Audio Stop 


A 

A 

Brochure 

Holder 

Audio Tour 

Drop-Off 

W293 

DIA DUTCH PAINTINGS 

Exit 

Entry 

N 

JOHN R ST. 

Woodward Lobby 

Great Hall 

Rivera Court 

HANDICAP 

ACCESSIBLE 

ENTRANCE 

EXHIBITION FLOORPLAN 

KIRBY ST. 

DIA 

WOODWARD 

ENTRANCE 

FARNSWORTH ST. 

Student groups enter at Woodward Entrance. Because of construction, call ahead for current 

accessible entrance information: (313) 833-7900. 

WOODWARD AVE. 

—3—

EXHIBITION SUMMARY 

The art of Gerard ter Borch (JEH-rard ter BORK) illustrates significant aspects 

of 17 th -century (1600-1699) Dutch life and history through his portraits and 

views of common events in life. One can easily appreciate Ter Borch’s technical 

skills in rendering reflected light and cloth. When one becomes acquainted 

with his use of symbolism— what to modern viewers may be hidden meanings 

— we find that his paintings express a sense of mysterious and complex 

meaning. 

LEARNING FROM THIS EXHIBITION 

A visit to the exhibition— linked to classroom studies— gives students and 

educators a focused look at the culture and ideology of Ter Borch’s time 

(including the personal background and bias of the artist). By careful looking 

and discussion, supplemented by the additional information provided here, a 

visit to the exhibition allows students of all backgrounds to make connections 

to art and to integrate knowledge into their own lives. 

INTERPRETIVE ELEMENTS AND TEACHER WORKSHOPS 

Audio Guides: Free with exhibition admission; users can choose the order in 

which to access the stops 

Youth Audio Guide: Recommended for middle school students and younger 

This tour is imaginatively narrated by two friends who must look 

carefully for clues to reveal the mysterious world of Ter Borch. 

(8 stops) 

Adult Audio Guide: Recommended for high school students and older 

This tour focuses on the mystery and ambiguity of Ter Borch’s work 

while giving visitors insight into 17 th -century Dutch life. (12 stops) 

Exhibition Brochure: Free with exhibition admission 

A color brochure features ten color images and information about Ter Borch 

and his artistic development. 

—4—

Taking a Close Look Panels: 

Freestanding panels use circles and arrows to highlight details of paintings 

and point out how artists used symbols to develop meaning through visual 

expression. The panels will guide novice visitors on how to read a painting. 

The works discussed are: 

Gallery 1: 

Gallery 2: 

Gallery 3: 

Gallery 4: 

The Swearing of the Oath of Ratification of the Treaty of Münster, 

15 May 1648 

The Grinder's Family 

Officer Writing a Letter 

Woman Sealing a Letter 

A Lady at Her Toilet 

Portrait of a Young Man 

The Posthumous Portrait of Moses ter Borch 

“How did Ter Borch Do It?” Touch Station 

In Gallery 3, students can touch samples of satin and fur that appear in Ter 

Borch’s paintings. Ter Borch’s methods for realistically painting surfaces are 

discussed. 

“Ask Me” Docent 

A museum-trained volunteer will be available during all open hours of the 

exhibition to speak to visitors and answer questions. There are no tours of the 

Ter Borch exhibition. 

Dutch Paintings in the DIA 

The Gerard ter Borch exhibition includes paintings from museums from all 

over the world. As you exit the exhibition, there are several Dutch paintings on 

display from the DIA’s own renowned Dutch collection, including Rembrandt’s 

The Visitation. 

“Hidden Stories” Tours of DIA galleries 

Gerard ter Borch’s paintings of everyday life often contained mysterious 

meanings. Join us on this tour of the museum’s permanent collection galleries 

to learn the fascinating “hidden stories” that lie beneath the surface of many of 

our masterworks from throughout the world. Offered daily at 1:30 p.m. for the 

general public, the tour begins in the Great Hall at the exit to the exhibition: 

Gerard ter Borch. Free with museum admission. 

—5—

GERARD TER BORCH, Gallant Conversation 

(Paternal Admonition); ca. 1654, 

Rijksmuseum, Amsterdam 

TEACHER WORKSHOPS 

Evening for Educators 

Focus on Special Exhibitions: Gerard ter Borch 

Friday, March 4, 5:00-7:00 p.m. 

During this quick, concentrated workshop, museum educators will identify key themes 

and objects within the exhibition Gerard ter Borch. The 17 th -century painter recorded 

everyday life when Dutch homes reflected world trade and exploration. Teachers from 

The Roeper School, Birmingham will link upper elementary language arts and art activities 

to the exhibition. Slide packets will be provided. Class fee includes admission to 

the DIA on March 4 for Marshall Field’s First Friday with special programs for all ages, 

6-9 p.m. Member fee: $15; Non-member fee: $20; Student teacher fee: $10. 

Focus on Special Exhibitions: Gerard ter Borch 

Saturday, March 12, 9:00 a.m.-3:30 p.m. 

DIA education staff will identify key themes and objects in a before-hours visit 

to the exhibition Gerard ter Borch. Teacher Ken Hoover will link the exhibition to the 

colonial American history and geography curriculums. In the afternoon, University of 

Michigan art historian Dr. Celeste Brusati reveals the symbolic meanings, visual 

puzzles, and ingenuity of Dutch art in the 17 th century. Slide packets will be provided. 

Member fee: $40; Non-member fee: $50; Student teacher fee: $25. SB-CEU credit 

available; inquire at registration. 

—6—

EXHIBITION WALKTHROUGH WITH DESCRIPTIONS 

OF GALLERIES AND AUDIO STOPS 

GERARD TER BORCH, The Consultation, 1635, Staatliche Museen zu 

Berlin-Preussischer Kulturbesitz, Gemaldegalerie 

Gallery 1 

EARLY PAINTINGS 

The Consultation 

(can be linked to science, social 

studies, and art curriculums) 

The older man in the painting is 

a doctor who is looking at a vial 

filled with urine — while the 

patient’s maid waits. In the 17 th 

century, uroscopy (the study of 

urine — its clarity, color and 

contents) represented one of the 

ways a physician could make a 

diagnosis of “love sickness.” At 

this time, this theme in painting 

was not unusual, but Ter Borch’s 

possibly sympathetic focus on the doctor— despite his messy office and clothing— 

was ambiguous. He leaves it to us to decide whether the doctor is a quack or a caring 

healer. 

GERARD TER BORCH, Procession with Flagellants, 1636-1640, Museum Boijmans Van 

Beuningen, Rotterdam 

Procession with 

Flagellants 

(social studies, art) 

This dark and 

oppressive painting 

depicts an evening 

procession of 

flagellants (associated 

with a Christian 

sect called the 

Brotherhood of the 

Cross) who believed 

that by beating 

themselves with 

whips they could 

purge themselves 

and the world of its sins, as Christ was thought to have done. At some point, Ter 

Borch had either witnessed such an event and/or had been privy to oral or written 

accounts of such events. Paintings such as this are rare and help us to understand the 

travels and unique experiences that Ter Borch encountered in either Rome or Spain 

where these processions were known to occur. 

—7—

GERARD TER BORCH, Swearing of the Oath of Ratification of the Treaty of 

Münster, 15 May 1648, 1648, National Gallery, London 

The Swearing of the Oath 

of Ratification of the Treaty 

of Münster, 15 May 1648 

(social studies, art) 

The swearing of the oath of 

ratification of the treaty of 

Münster took place on May 15, 

1648. This small oil painting is 

the only painted depiction of 

the event that brought to conclusion 

the Eighty Years’ War 

(1568-1648). During the three 

years of negotiation, Ter Borch 

also painted numerous 

portraits of those involved. 

About 77 participants and 

witnesses are portrayed. Ter 

Borch focused great detail on 

the room itself, including its wall decorations, the lighting fixtures, and documents 

and boxes on the table. Unusually objective for artists and paintings of this time, Ter 

Borch portrayed each group (the Protestant Dutch and the Catholic Spanish) with 

equal emphasis. 

Youth Audio Stops in this gallery: 

= 

Horse and Rider 

= 

Helena van der Schalcke 

Adult Audio Stops in this gallery: 

= 

Portrait of a Man (also discusses Portrait of a Woman) 

= 

The Swearing of the Oath of the Ratification of the Treaty of Münster, 

15 May 1648 

= 

Helena van der Schalcke 

Gallery 2 

THE DEVELOPMENT OF GENRE SUBJECT MATTER: SCENES DRAWN FROM 

EVERYDAY LIFE 

Genre (say "JAHN-rah) Paintings 

Ter Borch’s genre paintings (genre: from the French word for “kind”or “type”) 

illustrate common themes of letter writing, discreet encounters between men and 

women, and family interactions. He also demonstrates psychological insight into the 

drama of the scenes depicted. Gestures, facial expressions, and objects known to have 

symbolic meaning all convey to the viewer that something more than what meets the 

eye is occurring. 

—8—

The Grinder's Family 

(social studies and art) 

GERARD TER BORCH, The Grinder’s Family, ca. 1653, 

Staatliche Museen zu Berlin-Preussischer 

Kulturbesitz, Gemaldegalerie 

One sees a man sharpening a scythe on a 

large grindstone. Scattered about, there are 

more scythe blades, a hammer, a broken 

chair, overturned pots, and other debris. To 

the right, a mother carefully checks her child 

for head lice. In contrast to this household, 

Ter Borch has represented a home decorated 

with pinnacles and turrets in the background. 

Atop this well-maintained house, the artist 

includes a stork's nest, which in Dutch culture 

symbolized protection of the family. The 

Grinder’s Family provides a harshly “realistic 

view” of the life of a craftsman’s family. What 

is the artist trying to tell us by contrasting 

the differences between rich and poor? He 

may be implying some type of moral lesson 

that remains ambiguous. 

Officer Writing a Letter 

(social studies, English language arts, art) 

During the 17 th century, both young men and women 

of the Dutch middle class were well educated and 

literacy was relatively high. Proper calligraphy was a 

required skill and correspondence was considered an 

art form. On the floor is the ace-of-hearts playing 

card, symbolically suggesting to knowing Dutch 

viewers that the officer is writing a love letter whose 

recipient is most likely the woman preparing her own 

letter in Woman Sealing a Letter (catalogue no. 33, 

also in this gallery). It appears that Ter Borch 

painted these two as a pair representing the wonder 

and hope of love and romance. 

GERARD TER BORCH, Officer Writing a Letter, ca. 1658-1659, Philadelphia Museum of Art 


= Young Woman at Her Toilet with a Maid 

= Maid Milking a Cow in a Barn, (also discusses The Grinder’s Family 

and A Horse Stable) 

= Officer Dictating a Letter While a Trumpeter Waits 


= Officer Writing a Letter (also discusses Woman Sealing a Letter) 

= Gallant Conversation (Paternal Admonition) 

= A Horse Stable —9—

GERARD TER BORCH, A Lady at her Toilet, 

ca. 1660, The Detroit Institute of Arts 

Gallery 3 

THE REFINEMENT OF GENRE DURING 

THE 1660S 

A Lady at Her Toilet 

(social studies and art) 

This painting, part of the DIA collection, 

represents an unguarded moment in the life of a 

young woman. Being waited upon by two servants, 

the maid and the young page, she looks 

off absently while turning the ring on her hand. 

Her facial expression does not depict joy or 

happiness, but something else— maybe 

uncertainty or worry. Ter Borch represented not 

only the woman’s beauty and social class, but 

also her fragility. Some symbols relate to love, 

such as her ring; and the dog refers to loyalty 

and companionship. Her face in the mirror and 

the two snuffed candles are also symbolically 

significant, though this painting leaves much to question. The artist does not explicitly 

tell us why she appears anxious, leaving the mystery to our imagination. 

The Music Party 

(social studies, art, and music) 

The Music Party depicts a common 17 th - 

century metaphor for love and harmony 

between family members, lovers, or friends. 

The young woman plays a stringed instrument 

called a theorbo. Notice that the woman’s 

pose, gesture, and clothing are almost the 

same as in another of Ter Borch’s paintings, 

The Music Lesson (also in this gallery). This 

was not uncommon as Ter Borch sometimes 

replicated scenes and parts of images from 

one painting to another. These two paintings 

also emphasize the importance of Dutch 

literacy, which included the ability to read and 

play music. 

GERARD TER BORCH, The Music Party, ca. 1668-1670, 

Cincinnati Art Museum 


= The Music Lesson 

= The Introduction (An Officer Making 

His Bow to a Lady) 


= Curiosity 

= The Music Party 

—10—

Gallery 4 

PERFECTION OF PORTRAITURE 

Gerard ter Borch’s portraits represent almost half of his surviving works. The small 

scale of his paintings and their austerity are unique among his fellow contemporary 

artists. Many of his portraits have very little background and the subjects are often 

dressed very modestly in quiet and rather plain clothing. He created a type of portraiture 

that seemed perfect for wealthy Calvinists (then a newly-formed Protestant 

Christian group) who espoused moderation and dignity during the Dutch “Golden 

Age:” a time of ostentatious wealth for Dutch merchants and members of the middle 

class who prospered through world trade and imperialism. 

Posthumous Portrait 

of Moses ter Borch 

Gerard ter Borch and his step-sister Gesina 

collaborated on this commemorative portrait 

of Moses (Gerard’s youngest step-brother, 

Gesina's brother). Moses was killed, at the 

age of twenty-three, in a battle during the 

Second Anglo-Dutch War (1665-1667). Many 

of the images in the painting have symbolic 

meanings. Military symbols include a 

ceremonial helmet, armor, and gun. The 

watch, flute, hourglass, skull, bone, butterfly, 

and snake all connote an untimely death. Ivy 

represents eternal life, and the two dogs 

represent fidelity and the young man’s social 

status. 

GERARD TER BORCH, Posthumous Portrait of Moses Ter 

Borch, ca. 1668, Rijksmuseum, Amsterdam 

GESINA TER BORCH, Moses on the Beach at Harwich, ca. 

1670, Rijksmuseum, Amsterdam 

A Note on Gesina ter Borch 

Most of this painting is thought to be by the 

hand of Gesina ter Borch (1631-1690), with 

Gerard adding his skill to the complicated 

reflective surfaces like the armor, hourglass, 

and hair. Gesina was an artist who produced 

three albums of drawings, calligraphy, 

poetry, and watercolor paintings. One can 

compare her watercolor rendering of her 

brother Moses to this final oil composition, 

where the figures are quite similar. This 

portrait of Moses is one of her few known oil 

paintings. She often worked for her brother 

Gerard as a model and can be recognized in 

many of the paintings in this exhibition, 

including the DIA’s own A Lady at Her Toilet. 

—11—

Youth Audio Stop in this gallery: 

= Posthumous Portrait of Moses ter Borch 


= Town Council of Deventer 

= Jan van Duren (including Margaretha van Haexbergen, Wife of 

Jan van Doren) 

END OF GERARD TER BORCH EXHIBITION 

DUTCH PAINTINGS AT THE DIA 

REMBRANDT VAN RIJN, The Visitation, 1640, 

DIA permanent collection 

The Visitation depicts a scene from the New Testament 

story of the meeting between Mary, the mother of Jesus, 

and her older cousin Elizabeth— both of whom were 

pregnant at the time (Luke 1:36-42). Rembrandt focuses the 

painting around the two cousins who are bathed in a 

supernatural glow. The figures are linked by a series of 

gestures that stress the intimacy and emotions that bind 

them to each other. Animals play a meaningful part in the 

symbolism of this painting. The dog symbolizes faithfulness, 

while the peacock watching over chicks symbolized 

pride and vanity. The peacock is also a symbol for Christ, 

because they were believed by some people to be immortal. 

—12—

BIOGRAPHY 

Gerard ter Borch (1617-1681) 

Gerard ter Borch was a Dutch painter who developed his own distinctive 

type of interior subjects in which he depicted the wealthy and 

middle-class life of 17th-century Netherlands. Born in Zwolle, his 

father was also a painter, who earned a living as a tax collector. He 

served as a student under the artist Pieter Molijn in Haarlem and was 

exposed to art through his extensive European travels. He visited 

England in 1632, Rome in 1640, Münster and Westphalia from 

1646-1649, and Madrid sometime between 1649-1650. By 1655, he 

had settled back in the Netherlands in the town of Deventer. 

Ter Borch married his stepmother’s sister, Geertruyt Matthys, though 

there does not seem to be any evidence that they had children. While 

in Deventer, Ter Borch became a well-known and respected citizen, 

and was involved in the local government on the Council of Deventer. 

He associated socially and artistically with fellow artists such as 

Johannes Vermeer. 

Ter Borch painted portraits and genre scenes (work that emphasized 

and highlighted everyday life). His preferred subjects were social 

relations and love scenes charged with anticipation and uncertainty. 

He was a master at using symbolism as well as gestures and glances 

to suggest a narrative of psychological interplay, while leaving its 

outcome ambiguous. His delicate technique can be appreciated in the 

detail and beauty of textiles and clothing as well as attention to color, 

light, and texture. 

—13—

NETHERLANDS AND NEW NETHERLANDS HISTORICAL BACKGROUND 

17 th Century (1600-1699) 

In the 16 th century, the area known as the Netherlands fell under the rule of 

Phillip II of Spain. Phillip II was a Catholic monarch who suppressed political 

liberties and the growing Protestant movement in the Netherlands, including 

Calvinism. A Dutch revolt led by William of Orange caused the seven 

northern provinces to become the United Provinces of the Netherlands in 

1579. In 1648, Spain finally recognized Dutch independence through the 

signing of the Treaty of Münster. 

The Dutch East India Company was established in 1602, and by the end of 

the 17 th century, the Netherlands was one of the greatest sea and colonial 

powers in Europe. Dutch merchants traded in raw materials, porcelain, 

textiles, spices, and slaves in Europe, Asia, Africa, and the Americas. This 

new material wealth created the Dutch “Golden Age” of the 17 th century. 

The arts, culture, and education flourished along with schools and guilds of 

craftsmen. 

In 1609, the Dutch East India Company hired English sailor Henry Hudson to 

find a passage to India to facilitate the spice trade. Upon reaching North 

America, he claimed the entire Hudson River Valley for the Netherlands. The 

Dutch established the New Netherlands, a series of trading posts, forts, and 

towns that still exist today, including Albany (then Fort Orange), and New 

York (then New Amsterdam). The Dutch established the West India Company 

to encourage trade and settlement in North America in 1621. Director 

General Peter Minuit arrived in 1626 and purchased Manhattan Island from 

Algonquin and Iroquois Native Americans. The colony grew to 10,000 settlers 

in 1644. Conflicts arose with the Iroquois and with the British. 

In 1647, a new Director General, Peter Stuyvesant, came to the New 

Netherlands and issued edicts, regulated taverns, and endeavored to put an 

end to such activities as smuggling. In 1657, Stuyvesant sent troops north to 

the area between New Amsterdam and Fort Orange (Albany) to take by force 

fertile and strategic land from the Native Americans. 

During the Second Anglo-Dutch War in 1664, Governor Stuyvesant, without a 

fleet or any real army to defend the colony of the New Netherlands, was 

forced to surrender to English rule and New Amsterdam became New York. 

A favorable treaty allowed the Dutch colonists to remain, and they retained 

much of their culture. Many Dutch place names remain, and Dutch words 

and customs became part of American culture. 

—14—

GERARD TER BORCH IN HIS TIME: Following is a timeline that includes 

events in Ter Borch’s life (listed in bold type) set against key moments in history. 

1560 

1570 

1580 

1600 

1610 

1620 

1625 

1635 

1640 

1650 

1660 

1670 

1680 

1568: War begins between the Netherlands and Spain 

1579: Dutch revolt led by William of Orange causes seven northern provinces to 

become the United Provinces of the Netherlands 

1602: Dutch East India Company established to facilitate sea trade with Asia; the 

Dutch also trade in slavery 

1609: Henry Hudson (a British explorer) hired by the Dutch East India Company to 

explore North America for possible trade routes to Asia; claims the Hudson 

River and surroundings for the Netherlands 

1617: Gerard ter Borch born in Zwolle 

1617: Dutch built the settlement of Fort Orange — where Albany now stands (Dutch 

ultimately claimed the land along the Hudson between the Delaware River and 

the Connecticut River, over 175 miles wide and called it the New Netherlands) 

1618: Dutch traders sell cargo of 20 enslaved Africans in Jamestown, Virginia, 

initiating slavery in colonies 

1620: Dutch settle Manhattan Island; Pilgrims leave Leiden, Netherlands and settle at 

Plymouth, Massachusetts 

1621: Dutch West India Company formed to monopolize trade in the Americas 

1625: Produces accomplished drawings at age 8 

1625: Fort Amsterdam built on Manhattan Island became known as New Amsterdam 

1626: Governor Pieter Minuit purchased Manhattan Island from the Algonquin and 

Iroquois Native Americans 

1631: Birth of step-sister Gesina ter Borch 

1632: Leaves Zwolle to study in Amsterdam 

1632: Galileo Galilei’s Dialogue of the Two Major Systems of the World argues 

whether or not the earth circles the sun 

1633: Travels to Haarlem, studies with Pieter Molijn 

1635: Travels to London, England to work with step-uncle 

1635: Becomes a master in Haarlem’s St. Luke’s Guild for painters 

1637: Travels the south of Europe to Spain, perhaps Italy 

1639-1661: Dutch attempts to settle Staten Island resisted by Algonquin 

1642: Rembrandt paints The Night Watch 

1648: Treaty of Münster ends Eighty Years’ War, establishes Dutch independence 

1649: Royal Academy of Painting and Sculpture established in Paris 

1652-1674: Three Anglo-Dutch Wars (1652-54) (1665-67) (1672-74), between 

Netherlands and England over control of world trade reduce Dutch power 

1654: Marries, moves to Deventer 

1654: Anthony Leeuwenhoek invents the microscope 

1664: English take over the New Netherlands and rename colony New York; Dutch 

settlers negotiate treaty with the English that allows them to remain and retain 

their culture 

1666: Becomes City Counselor of Deventer and takes on several students 

1667: John Milton writes Paradise Lost 

1673: Invention of the pendulum clock by Christiaan Huygens 

1681: Death of Gerard ter Borch 

—15—

—16—

LINKS TO THE MICHIGAN DEPARTMENT OF EDUCATION’S 

CURRICULUM AND STANDARDS, 5 TH 

GRADE— HIGH SCHOOL 

The Michigan State Board of Education has approved model content 

standards for curriculum. These content standards provide descriptions 

of what students should know and be able to do in subject areas. 

The Michigan Educational Assessment Program (MEAP) tests are based 

on these standards. The selected standards below are enhanced by a visit to Gerard ter Borch and 

use of information and resources in this Teachers’ Guide. 

ARTS EDUCATION STANDARDS 

Dance, Music, Theatre, Visual Arts 

Visual Arts Content Standard 3: Analyzing in Context 

All students will analyze, describe and evaluate works of art. 

EXHIBIT CONNECTION: Posthumous Portrait of Moses ter Borch (Gallery 4) 

= Look for symbolism related to military service 

Visual Arts Content Standard 4: Arts in Context 

All students will understand, analyze, and describe the arts in their historical, social, and 

cultural contexts. 

EXHIBIT CONNECTION: The Swearing of the Oath of Ratification of the Treaty of Munster, 15 

May 1648 (Gallery 1) 

= Identify details specific to a particular event and time period in European history 

Social Studies 

Historical Perspective 

Standard I.2 Comprehending the Past 

All students will understand narratives about major eras of American and world history by 

identifying the people involved, describing the setting, and sequencing the events. 

EXHIBIT CONNECTIONS: A Horse Stable, Maid Milking a Cow, The Grinder’s Family (Gallery 2) 

= Have students compare and contrast everyday work activities today to those in the 1600s 

Geographic Perspective 

Standard II.2 People, Places and Cultures 

Soc.II.1MS.2 Describe and compare characteristics of major world cultures including 

language, religion, belief systems, gender roles and traditions. 

EXHIBIT CONNECTIONS: Officer Writing a Letter, A Lady at Her Toilet (Gallery 3) 

= Ask students to identify paintings in the exhibition that exemplify the values and culture 

of the Dutch during the 1600s 

Economic Perspective 

Standard IV.1 Individual and Household Choices 

Soc.IV.1MS2 Evaluate employment and career opportunities in light of economic trends 

EXHIBIT CONNECTIONS: The Grinder’s Family (Gallery 2) 

= Ask students to research the apprentice system that produced the artists and craftsmen 

such as Ter Borch and Vermeer during the 17 th century. Contrast their training and lifestyle 

with conditions in The Grinder’s Family. 

Inquiry 

Standard V.1 Information Processing 

Soc.V.1.1 Locate information about local, state and national communities using a variety of 

traditional sources, electronic technologies and direct observations (i.e. visit to the 

exhibition). 

EXHIBIT CONNECTIONS: Ask students to look at map, timeline, and paintings throughout the 

exhibition and to research further the history and culture of the Dutch in Europe and in the 

Americas during the 17 th century. 

—17—

English Language Arts 

Literature 

Standard 5 All students will read and analyze a wide variety of classic and contemporary 

literature and other texts (i.e. visit to the exhibition) to seek information, ideas, enjoyment, 

and understanding of their individuality, our common heritage and common humanity, and 

the rich diversity of our society. 

EXHIBIT CONNECTIONS: Officer Writing a Letter (Gallery 2), The Music Party (Gallery 3) 

= Through careful looking at paintings such as Officer Writing a Letter and The Music Party, 

reading texts and discussion, students will explore connections between courtship in their 

world and in the past 

World Languages 

Diversity 

Standard 9 All students will identify diverse languages and culture throughout the world. 

EXHIBIT CONNECTIONS: Look for examples of the Dutch language throughout the exhibit. Explore 

Dutch words in use today in the United States including place names, nouns, adjectives, and 

common terms. 

EXHIBIT CONNECTIONS: Use maps to connect the geographic names in the Netherlands to place 

names in the New Netherlands/New York and West Michigan. 

Teachers can also use aspects of students’ museum experiences to meet the Michigan 

Curriculum Framework’s Standards of Authentic Instruction: 

Standards of Authentic Instruction: 

= Higher Order Thinking 

= Deep Knowledge 

= Substantive Conversation 

= Connections to the World Beyond the Classroom 

—18—

DISCUSSION QUESTIONS AND CLASSROOM ACTIVITIES 

Use the following questions to: 

= have students share their museum observations in classroom discussions 

= identify research papers, oral reports, and essay topics for students 

= make connections between the Gerard ter Borch exhibition and what you 

are studying in the classroom 

In the museum: 

Note: Have students bring notebooks for writing and sketching. Use pencils, not pens. 

1. Language and culture context 

The Dutch language is included in the Germanic family of languages. Write 

down several Dutch words or names throughout the exhibit. Compile the lists 

in class. Review the words and their subsequent pronunciation and meanings. 

Several words commonly used in the English language that have Dutch origin 

include Santa Claus (Sant Klass), boss (baas), cookie (koekje), and place names 

such as the Bronx (Broncks) and Brooklyn (Breuckelen). Go to the following 

web site for more 'borrowed' words: 

http://en.wikipedia.org/wiki/List_of_English_words_of_Dutch_origin 

2. English language arts: writing and education of the middle class in 17th-century 

Netherlands 

During the 17 th century in the Netherlands, both boys and girls of the 

prosperous, new middle class were educated to read and write in at least one 

language. Calligraphy was also important. Ask your students to research daily 

life in 17 th century Netherlands (using Resources section) and write what could 

be in the letter in Officer Dictating a Letter While a Trumpeter Waits, Officer 

Writing a Letter, or Woman Sealing a Letter (Gallery 2). The following web site 

emphasizes the importance of learning and literacy among the Dutch in the 

17 th century: 

http://www.johannesvermeer.info/verm/house/h-a-school-eng.htm 

3. Symbolism and culture: representations of daily life, meanings, values and ideas 

Ter Borch uses symbols to show courtship and romantic love in The Suitor's 

Visit, Gallant Conversation (Paternal Admonition) (Gallery 2), and The Music 

Party (Gallery 3). Ter Borch used carefully arranged compositions, subtle 

gestures, and symbols to comment on gender roles, proper and improper 

behavior, and moral values. After discussion of these paintings, have your 

students compare current examples of romance and courtship as depicted in 

advertisements in magazines, or other sources. How do we use symbols, 

gestures and composition to convey meaning today? 

In the Classroom 

4. Geography: Mapping Netherlands, Europe, New Netherlands, and Michigan 

During the 17 th century, European trade and exploration caused the movement 

of people throughout the world. Use world maps to trace trade routes and the 

migration of the Dutch from the Netherlands to the New Netherlands in 

—19—

the 17 th century and also to West Michigan in the 19 th century. The following 

web site contains maps of the New Netherlands in the New World: 

http://www.geocities.com/Athens/Styx/6497/newnether.html 

5. Economics: art and artists in 17th-century Netherlands 

During the 17 th century, artisans and craftsmen received a specific type of 

education called an apprenticeship. Boys started at a very early age (between 8 

and 10) and continued until they received a “degree”—“master” in their 

particular art and/or craft. Artists like Ter Borch and Vermeer both received 

this type of schooling. Subsequently, they were able to demand high wages for 

their work— due to their education and unique styles. Ask your students to 

research apprenticeships of artisans and craftspersons during the 17 th century. 

The following web sites provide some beginning information about apprentice 

ships and education: 

http://www.essentialvermeer.20m.com/dutchpainters/dutch_art/ecnmcs_ 

dtchart.htm 

http://www.johannesvermeer.info/verm/house/h-a-school-eng.htm 

6. Primary sources: letters and documents in the 17 th century 

Throughout her life, Gesina ter Borch compiled three albums of her own work, 

her family and friends, that included poetry, calligraphy, drawings, and 

miniature paintings. Though she did some oil paintings on canvas, most of her 

surviving paintings are water colors which she pasted into her albums like a 

scrapbook. Such albums, along with needlework, were acceptable artistic 

endeavors for middle and upper class Dutch women, but Gesina’s work is 

exceptional. The example here reveals her talents and lively personality, and 

documents popular visual and literary tastes. Ask your students to bring a 

scrapbook or album to share with the class. Do their scrapbooks contain any 

original writing, calligraphy or artwork? Point out that photographs often take 

the place of drawings in modern albums. How do albums today represent a 

chosen person and cultural values? 

Gesina ter Borch, Self Portrait of Gesina, bust in a cartouche with 

the Ter Borch arms, 1660, Rijksmuseum 

Underneath the portrait a friend wrote a poem 

praising her virtue, wisdom, beauty and honor. 

—20—

RESOURCES 

Books for Adults 

Dutch Art Books 

Kettering, Alison McNeil, Arie Wallert and Marjorie E. Wieseman; Gerard ter Borch; 

National Gallery of Art, Washington D.C., 2004 

This is the catalogue for the exhibition and includes Ter Borch, his family, his 

technique, and many of his paintings. This is the first major English-language 

publication on the artist. 

Keyes, George S.; Masters of Dutch Painting: the Detroit Institute of Arts; 2004. 

Dutch master painters included in the collection of the Detroit Institute of Arts 

Wheelock jr. Arthur K., et. al; A Moral Compass: Seventeenth and Eighteenth Century 

Painting in the Netherlands; New York: Rizzoli International Publications, Inc., 1999. 

Contains information about the public and private life of the Dutch during the 

17th century and provides an in-depth look at A Lady at Her Toilet. 

Dutch in America 

Klooster, Wim.; The Dutch in America, 1600-1800; Providence: John Carter Brown 

Library, 1997. 

Swienrenga, Robert P.; For Food and Faith: Dutch Immigration to West Michigan, 1840- 

1960; Holland Museum, 2000. 

Includes information about who and why and when the Dutch settled in 

Western Michigan during the 19 th and 20 th centuries. 

Books for Children 

History 

Lilly, Melinda; The Dutch in New Amsterdam; Rourke Book Co., 2002. 

Ngcheong-Lum, Roseline et al; The Netherlands (Countries of the World); Gareth 

Stevens Press: 2002. 

Fiction 

Balliett, Blue; Chasing Vermeer; Scholastic Press, New York, 2004. 

6 th -grade students must decipher clues hidden in puzzles to recover a stolen 

Vermeer painting. 

DeJong, Meindert (Maurice Sendak, illustrator); The Wheel on the School; 

Harpercollins Childrens Books, 1955. 

The children in a little Dutch fishing village set about to bring the storks back 

to build their nests and in doing so change the village. 

These books are available in the DIA Museum Shop. 

EDUCATORS’ DISCOUNT AT DIA MUSEUM SHOP 

Please bring your educator’s identification to receive a 20% educational discount on 

products to be used exclusively in the classroom. This discount may not be combined with 

any other discount. (If you wish to receive a tax exemption with the 20% discount, 

you need a school tax ID number.) 

—21—

WEB SITES 

The Metropolitan Museum of Art, New York: 

www.metmuseum.org/toah/ht/09/euwl/ht09euwl.htm 

Timeline and events of the Dutch Golden Age 

The National Gallery of Art, Washington, D.C: 

http://www.nga.gov/collection/gallery/dutch.html 

Includes on line tours of NGA's Dutch collection such as “Johannes Vermeer 

and Dutch Scenes of Daily Life in the 1600s” 

http://www.nga.gov/education/classroom/self_portraits/bio_leyster.htm 

17 th -century Dutch painter Judith Leyster is included in a self-portraits lesson. 

The Education Division lends educational materials through the Loans 

Program. 

Rijksmuseum, Amterdam: 

http://www.rijksmuseum.nl/aria/aria_artists/00017094?lang=en 

Look under`B´for Gerard ter Borch images and information; site is in English 

http://www.rijksmuseum.nl/collectie/meesterwerken/?lang=en 

Masterworks section on the Dutch Golden Age (1600-1699) illustrates short 

texts on Dutch history and culture with art from the collection; includes quiz 

and timeline. Interactive details from the Treaty of Münster are included under 

the Look Closer section. 

History sites for teachers: 

www.albanyinstitute.org/resources/dutch/dutch.foodways.htm 

Eating habits are an engaging introduction to Dutch culture during the 17 th - 

century “Golden Age;” this site has classroom activities and resources for 

students and teachers. 

http://www.newnetherland.com/buttons.html 

New Netherlands Museum, Albany New York sails a replica of the Half Moon, 

explorer Henry Hudson's ship; web site includes information on the Dutch in 

the Americas. 

http://www.wowcom.net/commerce/museum/exhibits.shtml 

The Holland Museum located in Holland, Michigan has exhibits, resources and 

access to library/archives about Dutch settlement in Michigan. 

Art site for teachers: 

http://www.vue.org 

Visual Understanding in Education (VUE) conducts educational research 

focused on aesthetic and cognitive development that results from interaction 

with art. Based on its findings, VUE develops programs for schools and 

museums. Ter Borch’s genre paintings are good subjects for discussion using 

this method. 

—22—

VOCABULARY 

Calvinism: Founded by John Calvin in 1535, Calvinism was popular in Western 

Europe in the 16 th and 17 th centuries and was the predominant faith in the 

Netherlands at that time. John Calvin and his followers disagreed with the Catholic 

Church and established a new reformed faith based upon his teachings. 

Dutch Golden Age: A period of widespread wealth acquired through world trade, 

consumerism, and patronage of the arts in the 17 th -century (1600-1699) Netherlands, 

that coincided with the Netherlands gaining its independence from Spain. 

Eighty-Years’ War (1568-1648): Wars that occurred between Spain and the 

Netherlands during which the seven northern provinces of the Netherlands declared 

their independence from Spain and founded the Dutch Republic. The Treaty of 

Münster ended the war. 

Genre (say JAHN rah): A type of painting showing scenes from everyday life, 

particularly popular in the 17 th -century Netherlands. 

Guild: An economic and social organization for those practicing the same type of 

business or craft. Originally formed for mutual aid and protection, it would maintain 

standards, set prices, and protect the interests of its members. 

Music Paintings: In 17 th -century Dutch painting, playing music together was an 

established metaphor for harmony between a man and a woman in genre subjects 

and portraits of families and married persons. The lute was particularly rich in 

symbolic associations, functioning most often as a more or less amorous symbol. 

—23—

Teacher's Guide - Detroit Institute of Arts

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