Vrouw die haar kind de borst geeft
Pieter Peutemans
Kamenierster en baker
Crispijn van de Passe (II)
Two performances on an album page. On the left the fictional portrait of a maid named Alette (or Aeltjen). On the right the baker Janne with a child in her arms. In the background a mother with child and the baker next to it. Including two quatrains in Dutch. The print is part of an album.
Vroedvrouw en juffrouw Katelijn
Crispijn van de Passe (II)
Two performances on an album page. On the left the fictional portrait of a midwife named Perijntge with a swaddled child in her arms. In the background a church interior with a baptism ceremony. On the right is Miss Katelijn (or Cato) in bed, ready to breastfeed her child. Including two quatrains in Dutch. The print is part of an album.
Portret van een vroedvrouw
Crispijn van den Queborn
Portrait of a midwife (made after her death), with a poem dedicated to her
Heilige verwantschap
Frans Hogenberg
Sacred Kinship
Johannes Hallinck en een vrouw met…
Jacques de Gheyn (II)
On the left the accountant of the Court of Holland, Johannes Hallinck, with a glass in his hand. On the right a woman breastfeeding a child.
De mens op tienjarige leeftijd
Gerard van Groeningen
De magere keuken
Johann Theodor de Bry
A poor family of skinny farmers is eating in a kitchen. The food consists of turnips and empty shells. In the foreground a woman with child in a cradle. A fat farmer is worked out the door. To Bruegel's 'meager kitchen'.
Liefde
Crispijn van de Passe (I)
The female personification of Love (Caritas), one of the three theological virtues. She is suckling a child. In addition to her two other children, one of whom is holding a windmill. Print from a series of theological virtues.
Geboren om te werken
Philips Galle
Dwaasheid als kind gezoogd door…
Caspar Merian
Folly as a child suckled by personifications of drunkenness and ignorance Illustrations from the Praise of Folly (series title)
Tegenspoed doet ons naar de hemel…
Gaspar Bouttats
Page from a book (p. 72) with text and a printer's vignette on the verso. In an oval cartouche the interior of a room with a mother in a chair trying to nurse her child. However, the child refuses to eat. Above the cartouche the title (motto) of the print and a quote from the Bible (Psalm 72:25, now Psalm 73:25). Under the print a caption: 'Wean your appetite, Daer ghy suffer through damage.' and a description explaining the print. Children need to learn that they cannot breastfeed permanently. Analogously, man must learn that earthly life is not only prosperous.
Heidin
Cornelis Visscher (II)
In a hilly landscape, a Roma woman (heidin) breastfeeds her baby. Next to her is a young child with a cup and a spoon. On her back a third child crying. In the background three travelers and a dog. "Pagan" or "heathens" was a contemporary term for Roma.
Ann Inn with Backgammon Players
Egbert van Heemskerck (I)
Braaksel met hostie van zieke man…
Boëtius Adamsz. Bolswert
Winter
Magdalena van de Passe
Interior with a family by a fireplace. The mother sits in a cradle and breastfeeds her baby. In the background a company around a table. In the margin a two-line caption in Latin.
Smaak
Frederick Bloemaert
Liefde / Caritas
Aegidius Sadeler (II)
Een vrouw voedt haar kind
Hendrik Bary
A mother sits next to the fireplace feeding her child. Next to her is a crib.
Min met op haar schoot Willem…
anonymous
Five wet nurses, each with an…
Esaias Boursse
Three wet nurses and two infants
Esaias Boursse
Two Eurasian women doing domestic…
Esaias Boursse
Two wet nurses
Esaias Boursse
De kindertijd
Jan Christoffel Jegher
Woman in a Large Hat
Caesar van Everdingen
On display in room 2.11
A Mother Feeding Porridge to her…
Quiringh Gerritsz. van Brekelenkam
A Mother with her Children
Cornelis Dusart
Interior with a Mother Combing her…
Caspar Netscher
Man Handing a Letter to a Woman in…
Pieter de Hooch
Spinnende vrouw
Geertruydt Roghman
Three Women and a Child by a Door
Rembrandt van Rijn
An old woman is seated on a low chair near the entrance of a house, her hand resting on a bench by the door. Another woman sits on the ground in front of her, sewing, and in front of this figure we see a child, also seated on the ground. A woman stands behind the lower part of a stable door and looks out. The scene seems to have been drawn from life, but we do not know who the figures are or where the drawing was made. On another occasion, on a sheet in a private collection in Paris,3 Rembrandt again sketched women near a door, but he was standing inside and the door was different. Rembrandt had a strong preference for scenes set in doorways, whether they were biblical or genre scenes. This configuration gave him the opportunity to suggest more than one single moment from a story. The doorway often functions as a clear division between past and future events, especially when a scene of arrival or departure is portrayed. In the present drawing of the women by a door, everything is calm. Although in the auction of the collection of Jacob de Vos in 1883 it was included in a lot of drawings described as ‘school of Rembrandt’, the style is very characteristic of Rembrandt. The old woman is portrayed with the most detail, including the deep crease of her jowl, and she has been partially shaded with hatching. The other figures are more schematic, and the child in the foreground has been suggested using only a few loose pen strokes. Rembrandt placed the old woman at the centre of the composition and further emphasized her by rendering her in greater detail than the other figures. The few lines indicating the door frame are evocative in their simplicity: they create a sense of space and a balanced context for the composition. The drawing style indicates a dating in the mid-1640s. Peter Schatborn, 2017
Cimon and Pero
Peter Paul Rubens
A couple with six children
Jürgen Ovens
The Merry Family
Jan Havicksz. Steen
On display in Gallery of Honour
Woman with a Child in a Pantry
Pieter de Hooch
On display in Gallery of Honour
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