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| Hendrick ter Brugghen Beheading of St John the Baptist ca. 1617-20 oil on canvas National Galleries of Scotland |
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| Hendrick ter Brugghen Calling of St Matthew 1620 oil on canvas Musée d'art moderne André Malraux, Le Havre |
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| Hendrick ter Brugghen Calling of St Matthew 1621 oil on canvas Centraal Museum, Utrecht |
"Hendrick ter Brugghen went to Italy at the age of fifteen, following an apprenticeship in Utrecht under Abraham Bloemaert, a painter of history scenes. In Rome, ter Brugghen saw pictures by Caravaggio, who was still working at the time. He was fascinated by the latter's dramatic light and shade effects and his use of ordinary people as models. Some ten years later, he returned to the Dutch Republic a confirmed Caravaggist, working closely with Dirck van Baburen for several years in the same style. Ter Brugghen painted genre scenes of musicians and drinkers, as well as Biblical and mythological scenes."
– from curator's notes at the Rijksmuseum, Amsterdam
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| Hendrick ter Brugghen Angel liberating St Peter from Prison 1624 oil on canvas Mauritshuis, The Hague |
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| Hendrick ter Brugghen Rich Man and Poor Lazarus 1625 oil on canvas Centraal Museum, Utrecht |
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| Hendrick ter Brugghen Crucifixion with the Virgin and St John 1624-25 oil on canvas Metropolitan Museum of Art, New York |
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| Hendrick ter Brugghen Heraclitus 1628 oil on canvas Rijksmuseum, Amsterdam |
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| Hendrick ter Brugghen Annunciation 1624-25 oil on canvas private collection |
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| Hendrick ter Brugghen Sleeping Mars 1629 oil on canvas Centraal Museum, Utrecht |
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| Hendrick ter Brugghen Woman playing the Lute 1624-26 oil on canvas Kunsthistorisches Museum, Vienna |
"By about 1620 most of the Caravaggisti were either dead or had left Rome for good. Those who returned home, quickly adjusted their styles to their native surroundings; some of them hardly reveal in their late work that they had ever had any contact with Caravaggio. Not one of them had really understood the wholeness of his conception. They divested his realism of its irrational quality and his tenebroso of its mystique. They not only devitalized his manner, but as a rule they selected from his art only those elements which were congenial to their taste and ability. . . . Soon after 1620 Caravaggism in Rome had lost its appeal. . . . In spite of the comparatively brief life of Caravaggismo in Rome and in spite of the toning down of the master's example, the diffusion of his style continued, either directly or indirectly, and by a variety of routes. Apart from Naples, where his work had a more lasting and invigorating effect than anywhere else in Italy, its penetration to Bologna and Siena, Genoa and Venice, and throughout Europe, is one of the most astonishing phenomena in the history of art. The names of Ter Brugghen, Crabeth and Honthorst, Baburen, Pynas and Lastman, Jan Janssens, Gerard Seghers, Rombouts, and Vouet, most of them working in Rome at some during during the second decade of the century, indicate the extent of his influence; and we know that neither Rubens, who had very early in his career experienced Caravaggio's direct influence in Rome, nor Rembrandt, Velasquez, and Vermeer, would have developed as they did without the Caravaggio blood-transfusion."
– Rudolf Wittkower, Art and Architecture in Italy 1600-1750, originally published in 1958, revised by Joseph Connors and Jennifer Montagu and reissued by Yale University Press in 1999
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| Hendrick ter Brugghen Bagpipe Player 1624 oil on canvas National Gallery, London |
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| Hendrick ter Brugghen Boy Singing 1627 oil on canvas Museum of Fine Arts, Boston |
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| Hendrick ter Brugghen Boy playing a Fife 1621 oil on canvas Staatliche Museen, Kassel |
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| Hendrick ter Brugghen Boy playing a Recorder 1621 oil on canvas Staatliche Museen, Kassel |