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| Adrian van Stalbemt River Landscape with Peasants before 1662 oil on copper Nationalmuseum, Stockholm |
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| Henrik van Balen and workshop of Jan Brueghel the Elder Bathsheba in the Bath receiving the Letter from King David before 1632 oil on panel Nationalmuseum, Stockholm |
"The iconographic history shows that Bathsheba was often seen as a woman of some wealth, proud of her appearance and grooming, and not averse to making a public display of her beauty. Many images imply that she shares in David's guilt by her self-exposure, triggering his desire to possess her. She is frequently shown with attendants, who are often tainted with the suspicion of acting as bawds to David's desires, a function sometimes made explicit by the non-biblical motif of the bearing of a letter of assignation."
– Christopher Heppner, from the article Bathsheba Revisited, published in Blake: An Illustrated Quarterly (Winter 2002/2003)
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| Anonymous artist Landscape with the Flight into Egypt 17th century oil on canvas Nationalmuseum, Stockholm |
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| Dirck van Delen Distinguished Dinner-Company in an Interior 1631 oil on panel Nationalmuseum, Stockholm |
"Compared to some of the other rooms within the house dining rooms have a relatively short history. The term itself did not acquire its modern meaning until the second half of the 17th century and was not generally accepted until well into the 18th century. Prior to this it was not usual to set aside a room solely for eating, even in wealthy homes. In medieval hall houses the family ate their meals along with their servants in the great hall using trestle table and benches that could be cleared away to free the room for other uses. . . . From the 14th century, a greater desire for privacy emerged, and separate family rooms were created behind the screen of the great hall, two living rooms on the ground floor and a sleeping compartment above. The family then ate in one of the living rooms, known as the parlour, but they continued to use portable furniture until the 16th century. Wealthy households also required a large room for more ceremonial meals during the 16th century since entertaining large number of guests was regarded as an important sign of rank during this period. Long dining tables were used, with guests seated in a strict order according to their position within the social hierarchy and meals consisted of numerous courses and lasted anything up to five hours. But by the 17th century society was becoming more exclusive. It was no longer regarded as a mark of favour to be entertained in as large a company as possible, and dining was on a smaller and more intimate scale, although mealtimes themselves were still quite formal occasions and were subject to numerous conventions and rules. This period also saw the development, particularly in England and Holland, of heavy pieces of furniture connected with dining that could not easily be moved from one room to another."
– Encyclopedia of Interior Design, edited by Joanna Banham (Routledge, 1997)
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| Bartholomeus van Bassen Interior of a Baroque Church 1602 oil on panel Nationalmuseum, Stockholm |
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| attributed to Cornelis de Vos The Card Game before 1651 oil on canvas Nationalmuseum, Stockholm |
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| Frans Francken II and Cornelis de Vos Interior called Rubens' Salon before 1642 oil on panel Nationalmuseum, Stockholm |
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| David Klöcker Ehrenstrahl Figures of the Arts gathered round the bust of Queen Christina of Sweden depicted as Minerva before 1698 oil on canvas Nationalmuseum, Stockholm |
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| Adriaen van Ostade Lawyer at his Desk 1664 oil on panel Nationalmuseum, Stockholm |
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| Jan Davidsz de Heem Flower Still-Life with Bowl of Fruit and Oysters ca. 1665 oil on canvas Nationalmuseum, Stockholm |
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| T. Filoque Winter Landscape 1677 oil on canvas Nationalmuseum, Stockholm |
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| Nicolaes Berchem Milking-time before 1683 oil on panel Nationalmuseum, Stockholm |
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| Karel Dujardin Peasant-Girl Milking Cow 1657 oil on canvas Nationalmuseum, Stockholm |
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| Adam Pynacker Herders and Livestock in a Pasture ca. 1673 oil on canvas Nationalmuseum, Stockholm |
"Dutch landscape painters' interest in livestock, and the prominence given to cattle, reflected the Dutch pride in their milk industry. With time, the cow had become a symbol of Holland and its prosperity. Any picture portraying cows not only reflected the 17th-century social and economic conditions, but also expressed the nation's patriotic feeling. The inclusion of cows in paintings, coupled with the bucolic calm of nature, conveyed a message about the economic stability of Holland."
– Magda Michalska, published in Daily Art Magazine (December 2017)