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The tradition developed from the realism and detailed background activity of Early Netherlandish painting, which Hieronymus Bosch and Pieter Bruegel the Elder were among the first to turn into their principal subjects, also making use of proverbs. This group of subjects was a Dutch invention, reflecting the cultural preoccupations of the age, and was to be adopted by artists from other countries, especially France, in the two centuries following. Despite the Dutch Republic being the most important nation in international trade in Europe, and the abundance of marine paintings, scenes of dock workers and other commercial activities are very rare. The illustrations to these are often quoted directly in paintings, and since the start of the 20th century art historians have attached proverbs, sayings and mottoes to a great number of genre works.

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Potter’s The Young Bull is an enormous and famous portrait which Napoleon took to Paris (it later returned) though livestock analysts have noted from the depiction of the various parts of the anatomy that it appears to be a composite of studies of six different animals of widely different ages. Klomp (1625–1688), Adriaen van de Velde (1636–1672) and Karel Dujardin (1626–1678, farm animals), with Philips Wouwerman painting horses and riders in various settings. Italianate landscapes were popular as prints, and more paintings by Berchem were reproduced in engravings during the period itself than those of any other artist. Other artists who consistently worked in the style were Nicolaes Berchem (1620–1683) and Adam Pijnacker. Two other artists with more personal styles, whose best work included larger pictures (up to a metre or more across), were Aelbert Cuyp (1620–1691) and Philips Koninck (1619–1688). Important early figures in the move to realism were Esaias van de Velde (1587–1630) and Hendrick Avercamp (1585–1634), both also mentioned above as genre painters – in Avercamp’s case the same paintings deserve mention in each category.

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There was a market in Amsterdam for such paintings, and Post continued to produce Brazilian scenes for years after his return to the Netherlands. Although the Dutch control of the northeast sugar-producing region of Dutch Brazil turned out to be brief (1630–54), Governor Johan Maurits van Nassau-Siegen invited Dutch artists to paint scenes which are valuable in showing the seventeenth-century landscape and peoples of the region. They also moved to London, and the beginnings of English landscape painting were established by several less distinguished Dutch painters, such as Hendrick Danckerts.
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A distinctive feature of the period is the proliferation of distinct genres of paintings, with the majority of artists producing the bulk of their work within one of these. Most work, including that for which the period is best known, reflects the traditions of detailed realism inherited from Early Netherlandish painting. Although Dutch painting of the Golden Age is included in the general European period of Baroque painting, and often shows many of its characteristics, most lacks the idealization and love of splendour typical of much Baroque work, including that of neighbouring Flanders.

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  • Thomas de Keyser, Bartholomeus van der Helst, Ferdinand Bol and others, including many mentioned below as history or genre painters, did their best to enliven more conventional works.
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  • A distinctive feature of the period, compared to earlier European painting, was the small amount of religious painting.
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If only because of the enormous quantities produced, Dutch Golden Age painting has always formed a significant part of collections of Old Master paintings, itself a term invented in the 18th century to describe Dutch Golden Age artists. The two most well-known of these artists were Frans Post, a landscapist, and a still life painter, Albert Eckhout, who produced ethnographic paintings of Brazil’s population. Jan Weenix and Melchior d’Hondecoeter specialized in game and birds, dead or alive, and were in demand for country house and shooting-lodge overdoors across Northern Europe. Dead game, and birds painted live but studied from the dead, were another subgenre, as were dead fish, a staple of the Dutch diet – Abraham van Beijeren did many of these. Flower paintings formed a sub-group with its own specialists, and were occasionally the speciality of the few women artists, such as Maria van Oosterwyck and Rachel Ruysch. The genre naturally shares much with landscape painting, and in developing the depiction of the sky the two went together; many landscape artists also painted beach and river scenes.
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There were, for virtually the first time, many professional art dealers, several also significant artists, like Vermeer and his father, Jan van Goyen and Willem Kalf. The volume of production meant that prices were fairly low, except for the best known artists; as in most subsequent periods, there was a steep price gradient for more fashionable artists. Foreigners remarked on the enormous quantities of art produced and the large fairs where many paintings were sold – it has been roughly estimated that over 1.3 million Dutch pictures were painted in the 20 years after 1640 alone. Most paintings were relatively small – the only common type of really large paintings were group portraits.