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solemn expressions on their faces. Scientists often posed with instruments and objects of their study around them. Groups were often seated around a table, each person looking at the viewer. 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.
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Especially in the first half of the 17th century, portraits were very formal and stiff in composition. Boards of trustees preferred an image of austerity and humility, posing in dark clothing (which by its refinement testified to their prominent standing in society), often seated around a table, with
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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 foreground or face only in the back of the group. Sometimes all group members paid an equal sum, which was
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109:, the upper class of Dutch society. It was a prestigious honorary office, so the regents were keen to have themselves depicted in this role. The leading portraitists of the day were commissioned to make
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In some institutions the regentesses were all female, and so the portraits were of all-female groups, or there were mixed-gender regents who were painted separately, as in Hals' two portraits of the
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219:, an Amsterdam-based artist originally from Antwerp, is regarded as the inventor of the new genre of the regentenstukken as he started working on three such portraits just before 1617.
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Group portraits, largely a Dutch invention, were popular among the large numbers of civic associations that were a notable part of Dutch life, such as the
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In
Amsterdam most of these paintings ultimately ended up in possession of the city council, and many are now on display in the
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Joris Odden, 'You can leave your hat on: Men’s portraits, power, and identity in the seventeenth-century Dutch
Republic'
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likely to lead to quarrels when some members gained a more prominent place in the picture than others.
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or militia guards, boards of trustees and regents of guilds and charitable foundations and the like.
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during the 17th century, and in the 18th century. They were intended to be hung in the
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The six regents and the beadle of the
Nieuwezijds Huiszittenhuis in Amsterdam
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of the board of trustees, called regents or regentesses, of a
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The
Regentesses of the St. Elisabeth's Hospital in Haarlem
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The regents of a charitable organization (such as an
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462:, October 2020 The Seventeenth Century 36(1):1-57
382:Female regents of the Burgerweeshuis in Amsterdam
123:is a subtle treatment of a group round a table),
448:"Informatiepakket Frans Hals", Frans Hals Museum
69:. This type of group portrait was popular in
147:The Regents of the Old Men's and Women's Home
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16:Group portrait of regents of an organisation
277:Regents of the Burgerweeshuis orphanage in
189:showing not only the regents but also the
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232:Regentesses of the Old Men's Almshouse
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340:Johannes Cornelisz Verspronck
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120:Syndics of the Drapers' Guild
513:Art of the Dutch Golden Age
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498:Dutch Golden Age paintings
427:retirement home in Haarlem
295:Bartholomeus van der Helst
133:Bartholomeus van der Helst
30:Leproos-, Pest- en Dolhuis
71:Dutch Golden Age painting
482:Regents group portraits
63:charitable organization
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217:Cornelis van der Voort
203:militia group portrait
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143:Cornelis van der Voort
43:regents group portrait
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397:Jan Maurits Quinkhard
320:St. Elisabethgasthuis
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484:at Wikimedia Commons
28:The regents of the
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177:in 1633 painted a
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191:binnenvader
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149:, 1617–1618
24:Jan de Bray
492:Categories
435:References
314:Frans Hals
227:Frans Hals
212:schutterij
125:Frans Hals
279:Amsterdam
187:Amsterdam
115:Rembrandt
91:poorhouse
87:orphanage
181:for the
106:regenten
95:hospital
450:(Dutch)
403:Utrecht
324:Haarlem
259:Gallery
236:Haarlem
156:Regents
117:(whose
81:Regents
34:Haarlem
429:, 1736
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384:, 1683
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301:, 1637
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239:, 1664
131:, and
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100:hofje
67:guild
55:Dutch
159:and
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205:or
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