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| Jan Asselijn Study of Ponte Rotto in Trastavere, Rome ca. 1635-42 drawing Rijksmuseum, Amsterdam |
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| attributed to Jan Asselijn Study of Ponte Rotto in Trastavere, Rome ca. 1635-42 drawing Rijksmuseum, Amsterdam |
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| Jan Asselijn Grotto with small figures ca. 1635-42 drawing Teylers Museum, Haarlem |
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| Jan Asselijn Ruins of the so-called Fountain of Egeria near Rome ca. 1635-42 drawing British Museum |
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| Jan Asselijn Ruins of the so-called Temple of Minerva Medica, Rome ca. 1635-42 drawing British Museum |
"The first Dutch artist known to have gone to the south was Jan van Scorel. After visiting the Holy Land, he spent the years from 1522 to 1524 in Rome where, among other things, he was the curator of Papal collections. None of his drawings from this period have survived. During his time in Italy, from 1532 to the end of 1536, Van Scorel's pupil and assistant Maerten van Heemskerck drew city views, monuments and ruins, statues and reliefs, individual motifs like helmets, vases and animals, and several copies after wall decorations. . . . Many of the subject illustrated by Van Heemskerck – particularly city views and monuments – were also depicted by later artists, but no 17th-century collections of studies of the same magnitude have remained intact."
"Because other foreign artists were in the same position as the Dutch and Flemish, lived in the same neighborhoods and went to the same places to draw, many of them will have been familiar with one another's work. In some cases there are sources that tell us who were friends with whom and who travelled and drew together. Joachim van Sandrart, who was in Italy from 1629 to 1635, wrote that he once rode to Tivoli with Pieter van Laer, Nicolas Poussin and Claude Lorrain to draw and paint there."
"Most of the drawings by the Italianates, like those of other artists, were dispersed after their deaths and ended up with art dealers and collectors. At the beginning of the 18th century there were still a few large groups of drawings that had remained together in their hands. As a result of the general interest at home and abroad, drawings were gradually dispersed and found their way individually into the hands of collectors; later they were given a place in museum print collections. Initially the work of the Italianates was very highly regarded, but during the 19th and 20th centuries interest waned and they were relegated to the background as being too 'un-Dutch'. Following a revival of interest in the landscape paintings of the 17th-century Dutch Italianates in 1965, when an exhibition was devoted to them, it is now the turn of their drawings to be put in the limelight."
– Peter Schatborn, from the catalogue of a 2001 exhibition at the Rijksmuseum, published in English as Drawn to Warmth: 17th-century Dutch artists in Italy, translated by Lynne Richards
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| Jan Asselijn Relief sculptures on the Arch of Titus, Rome ca. 1635-42 drawing Teylers Museum, Haarlem |
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| Jan Asselijn Gate of the Exchange Dealers (Arco degli Argentari), Rome ca. 1635-42 drawing Museum Boijmans van Beuningen, Rotterdam |
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| Jan Asselijn Tomb of Cecilia Metella, Rome ca. 1635-42 drawing British Museum |
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| attributed to Jan Asselijn Artist sketching before 1652 drawing Morgan Library, New York |
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| Rembrandt Portrait of Jan Asselijn (Krabbetje), Painter ca. 1647 etching Metropolitan Museum of Art New York (gift of Louisine Havemeyer) |
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| Anonymous Dutch printmaker Portrait of Jan Asselijn ca. 1650-1700 etching Teylers Museum, Haarlem |
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| J.L.L. Zentner Portrait of Jan Asselijn ca. 1790-1800 etching, engraving British Museum |
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| Jan Asselijn Ruined Archway ca. 1638-44 oil on canvas Wadsworth Atheneum, Hartford, Connecticut |
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| Jan Asselijn Roman Ruins with Shepherds ca. 1647 oil on canvas Prado, Madrid |