A Dutch Italianate, Adriaen Van de Velde represents a point of artistic crosscommunication across borders, fusing agricultural landscapes in Holland with mythological Arcadian scenes in Italian settings. He died at the early age of 35, and yet he produced a great number of masterpieces that earned him tremendous posthumous fame in the 18th and 19th centuries, when he was one of the most sought-after names among collectors in Germany, France and England. Compared to Mozart's chamber music by the renowned art historian Wolfgang Stechow (1896-1974), Van de Velde's works are delicate and carefully composed and demonstrate his mastery of lighting effects as well as the human figure. His father Willem van de Velde the Elder and brother of the Younger were both marine painters, who in the winter of 1672-73 moved from Leiden to England to work in the service of King Charles II. Adriaen, by contrast, almost certainly never travelled outside his native country and chose to paint landscapes rather than seascapes. His meadows, Italianate views, beaches, dunes, forests, winter scenes and portraits in landscape settings and are among the very best that the Dutch Golden Age has produced. Moreover, the artist's drawings are widely considered to be a high point in 17th-century Dutch draughtsmanship. Yet despite his fame in previous centuries and the exquisite quality of his work, there has never been an exhibition devoted to the artist. As well as bringing together 60 of his finest works, the publication will reunite the paintings with their preparatory studies in seductive red chalk or pen and ink for the first time, making it possible to follow very precisely the various phases in the artist's creative process - perhaps more so than is possible for any other Dutch artist of the period. The publication will therefore offer not only a survey of the artist's oeuvre but also a rare glimpse of a seventeenth-century Dutch landscape painter at work, from conception to completion.

An expert look at the life and captivating work of the Dutch painter Nicolaes Maes, Rembrandt's most famous pupil This book offers a close look at the art of Dutch Golden Age painter Nicolaes Maes (1634-1693). One of Rembrandt's most talented students, Maes began by painting biblical scenes in the style of his famous teacher. He later produced extraordinary genre pieces, in which the closely observed actions of the main figure, often a woman, have a hushed, almost monumental character. Maes also depicted mothers with children or older women praying or sleeping; such works have placed him among the most popular painters of the Dutch Golden Age. From around 1660, Maes turned exclusively to portraiture, and his elegant style attracted wealthy and eminent clients from Dordrecht and Amsterdam. This generously illustrated volume is the first in English to cover the full range of his repertoire. The authors-curators from the National Gallery, London, and the Mauritshuis, The Hague-bring extensive knowledge to bear for the benefit of specialists and the general public. Published by National Gallery Company in association with the Mauritshuis, The Hague, and Waanders Publishers, Zwolle/Distributed by Yale University Press Exhibition Schedule: Mauritshuis (October 17, 2019-January 19, 2020) National Gallery, London (February 22-May 31, 2020)

Part of a comprehensive series cataloging the unparalleled holdings of Dutch drawings in the Rijksmuseum, Amsterdam, this two-volume set includes work by Avercamp, Leonaert Bramer, Breenbergh, Buytewech, Jan van Goyen, Dirck Hals, Pieter van Laer, Pieter Lastman, Cornelis van Poelenburgh, Pieter Saenredam, Hercules Segers, Esaias van de Velde, and Simon de Vlieger. Many are landscapes by these artists of the Dutch Golden Age, but the enormous variety of the 860 drawings here reproduced also includes portraits, religious figures, genre scenes, copies after the antique, and architecture. A critical commentary by the small team of scholars involved fully discusses attribution, iconography, and technique. The two volumes are fully indexed and include an appendix of X-ray photographs of watermarks.