In the first decades of the 17th century we find centres of portraiture at Delft and The Hague where at various times the stadhouder had his court, the States-General its seat, and most foreign diplomats resided. Michiel Jansz. van Miereveld and his pupil Jan Anthonisz van Ravensteyn (c. 1572-1657) are the outstanding names. Both artists inspired a host of minor painters. Their portraits are restrained, rather dry visual reports, competent in draughtsmanship and with only a moderate decorative effect. Costumes, armour, and faces are rendered with the same meticulous care and reliability. Miereveld was, it seems, prepared to make some adjustments in the features of a countenance to satisfy a foreign client. Miereveld enjoyed a greater reputation - particularly among court circles in The Hague - and he kept a workshop busy making portraits of members of the house of Orange-Nassau and other noble families.
Maurits is represented in the gilded suit of armour the States-General had given him for his military victory at Nieuwpoort in 1600. The portrait thus makes claims for the Stadhouder's indispensability to the States-General and the Republic. Van Miereveld's studio produced numerous paintings of the prince.
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