Delft Masters
Permanent collections
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Around 1650, the Delft art world was thriving. Delft masters inspired each other and made works of art loved worldwide, to the present day. These 17th-century masterpieces are on display at the Museum Prinsenhof Delft: paintings, and objects of silver and earthenware. Through the centuries, the city has continued to be a breeding ground of artistic talent. At the Prinsenhof, you will experience this in its most authentic context. For without Delft, no Delft masters!
Artistic Flourishing
In the late 16th century, many immigrants from the Southern Netherlands travelled to the north. To Delft, too. Among the new residents of the city were artists and artisans. Antwerp tapestry weaver François Spiering, for example, established a studio in Delft, as did silversmith Nicolaes de Grebber from The Hague. At the same time, local portraitist Michiel van Mierevelt, set up a very successful studio. This marked the beginning of a period of artistic flourishing in Delft, which would last well into the 17th century.
Diana and her hunting company, François Spiering, ca. 1613-1620, wool and silk. Photo Tom Haartsen
Prominence
Around 1650, this period of flourishing reached its peak and Delft rose to be one of the most prominent art centres in the country. Of all Delft masters, Johannes Vermeer is the most famous without doubt, but there are others among his fellow citizens who stood out and left their mark. Painters like Leonaert Bramer and Gerard Houckgeest contributed to the development of painting and experimented with innovative use of perspective and colour.
Interior of the Old Church with view of the organ, Gerard Houckgeest, 1650 -1651, oil on panel. Acquisition with support of the Vereniging Rembrandt, Stichting Van Oosten – Oosterholt, Friends of the Museum, and M. and H. Enthoven. Photo Tom Haartsen
Cross-fertilization
It was not only painting that flourished. Silversmiths like Adriaen de Grebber, tapistry weavers like Karel van Mander the Younger, and Delftware potters like Samuel van Eenhoorn were very successful. Delft had a close-knit network of artists who innovated, inspired each other, competed and cooperated.
Nautiluscup with singing fauns, anonymous, 1592, silver, enamel, glass and nautilus shell. Acquisition with support of the Vereniging Rembrandt . Photo Albertine Dijkema
Nul Group
Delft’s artistic tradition continued in the 20th century. Delft painter Bram Bogart’s materiality caused a sensation in 1950s Paris; paintings constructed with thick coats of paint. This made him a source of inspiration to young artists. A number of them founded the Informal Group in Delft in 1958, which continued as the Nul (Zero) Group some years later. Works of art by Jan Schoonhoven and Jan Henderikse, Delft members of this group, can be seen at the Prinsenhof.
Assembly of waste, Jan Henderikse, 1960, mixed technique. Foto Tom Haartsen
Modern Masters
The Museum Prinsenhof Delft continues to enrich its collection of Delft masters. In recent decades, with the work of modern masters like Jaap van den Ende, Corrie de Boer and Theo Jansen, among others. The Prinsenhof is, then, home to both old and new Delft masters.
'Witje, Serie B, no. 16', Corrie de Boer, 1975, stichted linen. Photo René Gerritsen