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The Dutch Golden Age painting is the painting of the Dutch Golden Age, a period in Dutch history generally spanning the 17th century,〔In general histories 1702 is sometimes taken as the end if the Golden Age, a date which works reasonably well for painting. Slive, who avoids the term (see p. 296), divides his book into two parts: 1600–1675 (294 pages) and 1675–1800 (32 pages).〕 during and after the later part of the Eighty Years' War (1568–1648) for Dutch independence. The new Dutch Republic was the most prosperous nation in Europe, and led European trade, science, and art. The northern Netherlandish provinces that made up the new state had traditionally been less important artistic centres than cities in Flanders in the south, and the upheavals and large-scale transfers of population of the war, and the sharp break with the old monarchist and Catholic cultural traditions, meant that Dutch art needed to reinvent itself entirely, a task in which it was very largely successful. Although Dutch painting of the Golden Age comes 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. Most work, including that for which the period is best known, reflects the traditions of detailed realism inherited from Early Netherlandish painting. 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. The full development of this specialization is seen from the late 1620s, and the period from then until the French invasion of 1672 is the core of Golden Age painting. ==Types of painting== A distinctive feature of the period, compared to earlier European painting, was the small amount of religious painting. Dutch Calvinism forbade religious painting in churches, and though biblical subjects were acceptable in private homes, relatively few were produced. The other traditional classes of history and portrait painting were present, but the period is more notable for a huge variety of other genres, sub-divided into numerous specialized categories, such as scenes of peasant life, landscapes, townscapes, landscapes with animals, maritime paintings, flower paintings and still lifes of various types. The development of many of these types of painting was decisively influenced by 17th-century Dutch artists. The widely held theory of the "hierarchy of genres" in painting, whereby some types were regarded as more prestigious than others, led many painters to want to produce history painting. However this was the hardest to sell, as even Rembrandt found. Many were forced to produce portraits or genre scenes, which sold much more easily. In descending order of status the categories in the hierarchy were: *history painting, including allegories and popular religious subjects. *Portrait painting, including the ''tronie'' *genre painting or scenes of everyday life *landscape, including seascapes, battlescenes, cityscapes, and ruins (landscapists were the "common footmen in the Army of Art" according to Samuel van Hoogstraten.〔Fuchs, 104〕) *still life The Dutch concentrated heavily on the "lower" categories, but by no means rejected the concept of the hierarchy.〔Franits, 2-3〕 Most paintings were relatively small – the only common type of really large paintings were group portraits. Painting directly onto walls hardly existed; when a wall-space in a public building needed decorating fitted framed canvas was normally used. For the extra precision possible on a hard surface many painters continued to use wooden panels, some time after the rest of Western Europe had abandoned them; some used copper plates, usually recycling plates from printmaking. In turn the number of surviving Golden Age paintings was reduced by them being overpainted with new works by artists throughout the 18th and 19th century – poor ones were usually cheaper than a new canvas, stretcher and frame. There was very little Dutch sculpture during the period; it is mostly found in tomb monuments and attached to public buildings, and small sculptures for houses are a noticeable gap, their place taken by silverware and ceramics. Painted delftware tiles were very cheap and common, if rarely of really high quality, but silver, especially in the auricular style, led Europe. With this exception, the best artistic efforts were concentrated on painting and printmaking. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Dutch Golden Age painting」の詳細全文を読む スポンサード リンク
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