Subject: schutter militiaman
Culture: Dutch
Setting: Gouden Eeuw / Dutch Golden Age, Netherlands 17thc
Event Photos
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Primary Sources
* Royal Armouries Museum > War Gallery
"Dutch Civic Guards Towns and cities in Holland formed Civic Guards from their inhabitants. In the 17th century a tradition developed of each company of guardsmen having a group portrait painted. The most famous of these is Rembrandt's 'The Night Watch'.
"These paintings are an accurate portrayal of both the guardsmen and their arms and armour. Because of the wide timespan covered by the paintings, they have contributed greatly to our knowledge of the development of and fashions in arms and armour of the 16th and 17th centuries."
"In the tapestry of the Dutch Golden Age, the civic guard portraits—known as schuttersstukken—emerge as a distinctive thread, exemplifying both the martial valor and the burgeoning civic pride of the era. This unique genre of group portraiture, which flourished particularly in the first half of the seventeenth century, became a hallmark of Dutch artistic prowess and an expression of the newfound wealth and social aspirations of the Dutch burghers.
"Schutterijen, were militia groups composed of citizens who bore the responsibility for the defense and order of their towns in times of peace and war. These militiamen were not just ordinary soldiers; they were often affluent merchants, prominent craftsmen, and influential members of the urban elite. Their group portraits served multiple purposes: they were displays of wealth and status, memorials of civic duty, and symbols of collective identity.
"Commissioning such portraits was a communal endeavor. The members of the civic guard would collectively hire a painter, and individual members would contribute to the cost. The amount each member paid was often in proportion to the prominence of their placement in the painting, with those occupying central positions in the front paying more than those relegated to the background or sides. This practice was not merely a vanity project but also a way to immortalize one's service and stature within the community.
"The early schuttersstukken were characterized by a rigid formality. Figures were often arranged in a row, seated or standing, with their faces aligned uniformly. This style mirrored the hierarchical structures of the time and reflected a desire for order and clarity. It was a visual expression of the newly established bourgeoisie’s adherence to discipline and their role in maintaining civic stability.
"As time progressed, the portraits became more dynamic and complex. The subjects were no longer merely lined up as in a roll call; instead, painters began to arrange them in more informal and naturalistic compositions, imbuing the paintings with greater movement and energy. Painters like Rembrandt and Frans Hals were pivotal in this transition."
* Haley 1972 p133
"The only large portraits were those of the groups of schutterij, such as Hals painted in Haarlem and Rembrandt in the Night Watch: these would be hung on the walls of the doelen, whereas those of individual sitters were intended for the more intimate surroundings of a house."
Secondary Sources
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Field Notes
