_Thomas de Keyser_ (Dutch: 1596-1667).
This painter--the son of an eminent sculptor and architect--was
born at Amsterdam, and was one of the chief forerunners of
Rembrandt in the art of portrait painting. "If," says Burton,
"in some of his work remains of the formality and stiffness
of the sixteenth century may be traced, the greater number
show a freedom and a sense of life unusual among those of his
predecessors."
This picture--which is signed (on the mantelpiece) and dated 1627--is
interesting as showing us, in a particular instance, the condition of
social and political life out of which the Dutch art of the seventeenth
century arose. The merchant has his globes before him: he was one of
those who had built up the riches of his country by foreign trade. But
he is a man of taste as well as of business, and the two things are
closely united.[113] His office is itself hung with rich tapestry, and
amongst the implements of his trade, his plans and books and maps, is
a guitar. "The United Provinces, grouped together by the Convention
of Utrecht (1579), ... concentrated the public functions in the hands
of an aristocratic middle class (such as we see them in Terburg's
historical picture, 896), educated and powerful, eager for science and
riches, bold enough to undertake everything, and persevering enough
to carry their enterprises to a successful conclusion. The brilliant
heroism, implacable will, and indefatigable perseverance which had
aided the people to recover their liberty and autonomy were now
directed to other objects.... Their shipbuilders covered the seas with
vessels, a legion of adventurous sailors went forth in all directions
to discover distant shores or to conquer unknown continents.... Gold
was now to be found in plenty in the country which hitherto had been
poor, and with the influx of riches, taste, luxury, appreciation of the
beautiful and love of Art were developed" (Havard: _The Dutch School_,
p. 62).