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| Aert de Gelder Portrait of a Woman ca. 1680-90 oil on canvas Art Institute of Chicago |
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| Aert de Gelder Portrait of Ernst van Beveren 1685 oil on canvas Rijksmuseum, Amsterdam |
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| Aert de Gelder Portrait of Hermanus Boerhaave, his wife Maria Drolenvaux and their daughter Johanna Maria ca. 1720-25 oil on canvas Rijksmuseum, Amsterdam |
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| Aert de Gelder King David ca. 1683 oil on canvas Rijksmuseum, Amsterdam |
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| Aert de Gelder Ahimelech presenting the Sword of Goliath to David ca. 1680-90 oil on canvas Getty Museum, Los Angeles |
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| Aert de Gelder Homer dictating to Scribes ca. 1700-1710 oil on canvas Museum of Fine Arts, Boston |
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| Aert de Gelder Forecourt of a Temple 1679 oil on canvas Mauritshuis, The Hague |
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| Aert de Gelder Esther and Mordecai writing the First Letter of Purim 1675 oil on canvas Museo Nacional de Bellas Artes, Buenos Aires |
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| Aert de Gelder Toilette of Esther 1684 oil on canvas Alte Pinakothek, Munich |
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| Aert de Gelder Simeon's Song of Praise ca. 1700-1710 oil on canvas Mauritshuis, The Hague |
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| Aert de Gelder Rest on the Flight into Egypt ca. 1690 oil on canvas Museum of Fine Arts, Boston |
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| Aert de Gelder The Marriage Contract ca. 1670 oil on canvas Brighton and Hove Museums and Art Galleries |
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| Aert de Gelder Abraham and the Three Angels ca. 1680-85 oil on canvas Museum Boijmans Van Beuningen, Rotterdam |
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| Aert de Gelder Banquet of Ahasuerus ca. 1680-90 oil on canvas Getty Museum, Los Angeles |
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| Aert de Gelder Vertumnus and Pomona before 1727 oil on canvas Šternberský Palace, Prague |
"Aert de Gelder (1645-1727) built a career practicing Rembrandt van Rijn's style. From 1661 to 1663 de Gelder was one of Rembrandt's last students in Amsterdam. He returned to his native Dordrecht in Holland, but the experience was unforgettable. Painting principally biblical subjects and portraits, de Guilder retained Rembrandt's naturalness, sympathy, and human warmth. . . . While de Gelder's contemporaries recognized him as Rembrandt's best pupil and closest follower, they also considered him an eccentric living in the past, using broken dabs of color when smooth surfaces and elegance were the chief aims of rococo art. De Gelder's fame was local and had little influence on the course of Dutch painting."
– from the biographical sketch at the Getty Museum, Los Angeles
Like other skilled disciples of Rembrandt, de Gelder produced works that were later supposed to be by the hand of Rembrandt himself – several of those reproduced above were acquired by their present institutions in this belief and only later "demoted" by scholars and re-attributed to their true creator.