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192:(targets). These fields were generally adjoining a large building where they met indoors for gymnastic exercises and held their meetings. It was in these great halls where the large group portraits hung for centuries, and many paintings suffered dramatically from enthusiastic gymnasts over the years. These locations were not the only place the schutters met each other. These guilds also kept altars in local churches, where they met for religious reasons. Most schutterij guilds had as patron saints
153:
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century, portraits were very formal and stiff in composition. Early examples showed them dining, with each person looking at the viewer. Later groups showed most figures standing for a more dynamic composition. Much attention was paid to fine details in clothing, and where applicable, to furniture and other signs of a person's position in society. Later in the century groups became livelier and colours brighter. Rembrandt's
589:
73:, intended to protect the town or city from attack and act in case of revolt or fire. Their training grounds were often on open spaces within the city, near the city walls, but, when the weather did not allow, inside a church. They are mostly grouped according to their district and to the weapon that they used:
263:
649:, made up of people who meet regularly to dress in traditional costume and demonstrate how cannons were used in strongholds. Most of these schutterijen were founded during the first half of the 20th century and many of them are the same kind of associations as a German Schützenbruderschaft. Likewise, the
503:. His selfportrait is in the very painting that was his first schutterstuk commission in 1639 and resulted in a lucrative contract with the Amsterdam Bicker family. In Amsterdam most of these paintings would ultimately end up in the possession of the city council, and many are now on display in the
491:
were all members of schuttersgildes who won such commissions. The commission itself was a guaranteed income for a year, but often the painter would win additional commissions to do the rest of the sitter's family, or make a separate copy of the sitter's portrait for private use. The tricky part of
435:(1642), was an ambitious and not entirely successful attempt to show a group in action, setting out for a patrol or parade and also innovative in avoiding the typical very wide format of such works. The reason for this was probably that banquets for guilds had been banned in Amsterdam since 1522.
416:
agreed how they wanted to be depicted together in paint, for such paintings each member usually paid and posed separately so that each individual portrait within the group was as accurate as possible, and the artist's fee could be paid. Most group portraits of militia guards were commissioned in
364:
were all members of these guilds, that was quite hard to do. Once a year they held a banquet, with beer and a roasted ox. Whenever a changeover of the leading officers occurred, a local painter was invited to paint the members, and the scene most popularly chosen for these group portraits was the
376:
Group portraits were popular among the large numbers of civic associations that were a notable part of Dutch life, such as the officers of a city's schutterij or militia guards, boards of trustees and regents of guilds and charitable foundations and the like. Especially in the first half of the
121:
by his particularly fine clothes and the flag he is carrying). Joining as an officer for a couple of years was often a stepping stone to other important public posts within the city. The members were expected to buy their own weapon and uniform. Each night, two men guarded their district in two
458:
who wanted to be in the group portrait, paid the painter, depending on his position in the painting. The cost of group portraits was usually shared by the subjects, often not equally. The amount paid might determine each person's place in the picture, either head to toe in full regalia in the
299:
105:, civic guard, or town watch, was a defensive military support system for the city authorities. Its officers were wealthy citizens of the town or city concerned, appointed by the city magistrates. In the Northern Netherlands, after the change to Protestantism that followed the
287:
459:
foreground or face only in the back of the group. Sometimes all group members paid an equal sum, which was likely to lead to quarrels when some members gained a more prominent place in the picture than others. According to local legend, the
478:
Winning a commission for a schuttersstuk was a highly competitive task, with young portrait painters competing with each other to impress members of the schutterij. Often it helped if the painter became a member of the schuttersgilde, and
231:, there were two guilds who kept their original rules (St. Adriaen and St. Joris), such as holding banquets and collecting for sick members or widows. Though they moved premises several times, some of the old
510:
53:
227:
in the
Northern Netherlands, and membership dues were no longer paid in church, but at the city hall. In Amsterdam, the guilds were no longer allowed to make rules or spend money on their own, but in
541:
to appoint the militia's officers, but
William refused, since in some towns the bourgeois could not even be considered as candidates for these offices. By the second half of the 18th century the
27:
365:
banquet scene. Though occasionally they were shown outside in active duty, the members were usually portrayed for posterity dressed in their Sunday best, rather than their guard dress. These
141:
in the 16th, 17th and 18th centuries and paid a double tax in lieu of service. Roman
Catholics were permitted in the lower regions. Persons in the service of the city (such as the
306:
438:
122:
shifts, from 10:00 p.m. until 2:00 a.m., and from 2:00 a.m. until 6:00 a.m., closing and opening the gates of the city. At a set time each month, the
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813:
149:, the beer-bearers and peat bearers), and the city's Jews, did not need to serve. The beer and peat bearers had to serve as the town's firefighters instead.
798:
788:
475:"... in a certain sense fails ... Rembrandt wanted to paint the chaos of figures walking through each other, yet also aim for an organised composition."
293:
For centuries a meeting hall and scene of indoor target practise. In the 20th century a gym for the local High School, and now a peaceful study hall.
235:
Doelen halls still stand where the schutters met and where their group paintings hung, though these paintings are now preserved carefully in the
803:
250:
425:, and were much more flamboyant and relaxed or even boisterous than other types of portraits, as well as much larger. Rembrandt's famous
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were inactive (sometimes only exercising once a year and with the ill or rich buying their way out of service) and only of importance to
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in the
Netherlands who honour the old traditions; in the Catholic regions many municipalities have several of them. For instance the
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compete against each other. The winner organizes the event the following year and takes home "De Um", the highest prize for a
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a schuttersstuk would be commissioned, since this only happened when one of the leading officers died, retired, or moved away.
205:
319:
736:
216:). These religious duties were a significant part of the guild membership since that is also where they paid their dues.
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arose which anybody could join and with officers chosen democratically. The
Orangists poked fun at the ministers, like
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and, depending on the town, took place sometime between 1566 and 1580, the officers had to be a member of the
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467:: instead of a group of proud and orderly men, they alleged Rembrandt had not painted what he saw.
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93:". It is now a title applied to ceremonial shooting clubs and to the country's Olympic rifle team.
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656:, or the "Old Limburg's Schutter Festival" (OLS) is an annual event in which more than 160
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no longer worked after five hundred years, which was controlled by a select group of
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An example of a young painter who successfully launched his career in this way is
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Above the door: "In 1572 the
Spanish enemy came here to treat us the same way as
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on what is now library steps. Through the window one sees the study hall ceiling.
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were officially prohibited from influencing city politics, but since the ruling
70:
31:
The
Amsterdam archery militia whose patron saint was St. Sebastian, in 1653, by
480:
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59:
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The ideal was that, for every hundred inhabitants, three would belong to the
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527:
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327:. We withstood him, fighting bravely, but from hunger we had to give up."
277:, with a commemorative plaque above the door, placed 200 years after the
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was a wealthy young bachelor (often recognizable in group portraits of
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fishing for a schuttersstuk commission, was that it was never known
113:. The captain was usually a wealthy local resident, and the group's
587:
549:. This brought them much criticism. Translations of the books by
509:
437:
395:
391:
318:
151:
90:
26:
515:
The company of Roelof Bicker and
Luitenant Jan Michaelsz Blauw
507:; there are no significant examples outside the Netherlands.
394:
and institutions as well, such as orphanages, hospitals, and
759:
Archery and
Crossbow Guilds in Medieval Flanders, 1300-1500
188:(musket bearers) met at target practice grounds called
565:
in 1783 or to create an alternative - in many cities,
444:
Banquet of
Members of Amsterdam's Crossbow Civic Guard
386:
A similar commemorative group painting tradition, the
163:"), a schutterstuk for one of the Amsterdam guilds by
693:"Op 27 mei 1522 een verbod gildemaaltijden te houden"
307:
The Officers of the St Adrian Militia Company in 1630
739:, 9780892365487, first published in German in 1902,
89:, which could be roughly translated as a "shooter's
427:The Militia Company of Captain Frans Banning Cocq
383:is a subtle treatment of a group round a table.
281:, when many Cloveniers died defending the city.
592:Reenactor at Bakel, North Brabant, Netherlands
126:would parade under the command of an officer.
8:
369:include some of the grandest portraiture in
402:, such a painting was known in Dutch as a
585:and shopkeepers joining the new militia.
335:
794:Early modern history of the Netherlands
748:
685:
259:
223:, all the altars were disbanded in the
145:, the city-physician, the teacher, the
85:. Together, its members are called a
450:, with a stiff and unsubtle depiction
137:were excluded from a position in the
45:
7:
814:Social history of the Dutch Republic
731:, reprint 2000, Getty Publications,
799:Medieval history of the Netherlands
789:Military history of the Netherlands
561:tried to breathe new life into the
517:, painted by Van der Helst in 1639.
251:Musée des Beaux-Arts de Strasbourg
25:
729:The Group Portraiture of Holland
705:‘Nachtwacht mislukt meesterwerk’
581:propagating the system from the
298:
286:
262:
569:(military-exercise societies),
463:was unhappy with the result in
442:A very early example; the 1533
239:(with the notable exception of
604:families, but it survived the
1:
804:Historical reenactment groups
608:and French occupation of the
579:François Adriaan van der Kemp
380:Syndics of the Drapers' Guild
614:William I of the Netherlands
535:William IV, Prince of Orange
505:Amsterdams Historisch Museum
390:, was true for other Dutch
184:(traditionally archers) or
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779:Culture of the Netherlands
618:professional police forces
573:(free corps) or voluntary
501:Bartholomeus van der Helst
33:Bartholomeus van der Helst
695:in the Amsterdam Archives
668:) from Belgian and Dutch
557:became very popular. The
371:Dutch Golden Age painting
246:The St Adrian Civic Guard
204:(St. Joris in Dutch), or
275:Stadsbibliotheek Haarlem
58:) refers to a voluntary
784:Dutch words and phrases
567:exercitiegenootschappen
367:militia group portraits
225:Dutch Reformed churches
741:fully available online
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634:historical reenactment
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518:
471:declared in 2006 that
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388:Regents group portrait
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221:Protestant Reformation
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35:
18:Militia group portrait
762:. Boydell and Brewer.
591:
513:
489:Caesar van Everdingen
469:Ernst van de Wetering
441:
398:. In the case of the
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322:
171:, painted in 1633-37.
155:
111:Dutch Reformed Church
30:
485:Hendrik Gerritsz Pot
454:Every member of the
312:Hendrik Gerritsz Pot
269:Meeting hall of the
66:in the medieval and
43:Dutch pronunciation:
606:Batavian Revolution
448:Cornelis Anthonisz.
206:Adrian of Nicomedia
157:De Magere Compagnie
47:[sxʏtəˈrɛi]
809:Militias in Europe
610:Kingdom of Holland
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519:
452:
429:, better known as
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329:
249:, which is in the
233:Haarlem schutterij
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36:
711:January 7th, 2006
243:'s 1612 painting
237:Frans Hals Museum
16:(Redirected from
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756:Crombie, Laura.
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624:were abolished.
559:Patriots faction
410:schuttersstukken
354:After 1581, the
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279:Siege of Haarlem
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241:Cornelis Engelsz
176:Training grounds
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632:There are many
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620:. In 1901, the
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473:The Night Watch
465:The Night Watch
432:The Night Watch
343:The Night Watch
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133:. The Dutch
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622:schutterijen
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598:schutterijen
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575:schutterijen
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539:middle class
526:In 1748 the
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340:Rembrandt's
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202:Saint George
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169:Pieter Codde
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119:Schutterijen
118:
107:Beeldenstorm
102:
100:
86:
68:early modern
38:
37:
725:Alois Riegl
628:Reenactment
571:vrijcorpsen
532:stadtholder
350:moving out.
214:St. Adriaen
71:Netherlands
62:or citizen
773:Categories
737:089236548X
680:References
662:Limburgish
642:schutterij
563:schutterij
543:schutterij
537:allow the
481:Frans Hals
461:schutterij
456:schutterij
356:schutterij
348:schutterij
273:, now the
271:Cloveniers
219:After the
186:cloveniers
165:Frans Hals
139:schutterij
135:Mennonites
131:schutterij
103:schutterij
60:city guard
39:Schutterij
666:sjötterie
547:Orangists
528:Doelisten
423:Amsterdam
414:schutters
182:schutters
124:schutters
674:schutter
361:regenten
346:shows a
143:minister
97:Function
79:crossbow
707:in the
670:Limburg
616:set up
522:Decline
419:Haarlem
325:Naarden
229:Haarlem
64:militia
735:
583:pulpit
487:, and
396:hofjes
392:guilds
255:France
190:Doelen
159:("The
147:sexton
115:ensign
408:(pl.
210:Dutch
91:guild
733:ISBN
553:and
494:when
421:and
180:The
167:and
101:The
709:NRC
645:of
446:by
310:by
257:).
83:gun
81:or
75:bow
775::
727:,
676:.
664::
483:,
373:.
253:,
212::
200:,
196:,
77:,
660:(
208:(
41:(
20:)
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