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| Nicolaas van der Waay Coronation of Queen Wilhelmina 1898-99 oil on canvas Paleis Het Loo, Apeldoorn |
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| Nicolaas van der Waay Amsterdam Orphan Girl ca. 1890-1910 oil on canvas Rijksmuseum, Amsterdam |
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| Nicolaas van der Waay Amsterdam Orphan Girls going to Church ca. 1890-1910 oil on canvas Amsterdam Museum |
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| Nicolaas van der Waay Girls' Courtyard of the Burgerweeshuis ca. 1890-1910 oil on canvas Amsterdam Museum |
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| Nicolaas van der Waay after Michelangelo Libyan Sibyl 1885 oil on canvas Cultureel Erfgoed, Amersfoort |
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| Nicolaas van der Waay after Michelangelo Last Judgment ca. 1885 oil on canvas Cultureel Erfgoed, Amersfoort |
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| Nicolaas van der Waay after Titian Portrait of Cardinal Ippolito de' Medici ca. 1885 oil on canvas Cultureel Erfgoed, Amersfoort |
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| Nicolaas van der Waay Design for Cover of De Portefeuille 1888 drawing, with watercolor Rijksmuseum, Amsterdam |
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| Nicolaas van der Waay Art Academy Students Drawing ca. 1890 etching Rijksmuseum, Amsterdam |
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| Nicolaas van der Waay Académie ca. 1880-90 drawing Rijksmuseum, Amsterdam |
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| Nicolaas van der Waay Portrait of a Woman ca. 1895 watercolor Rijksmuseum, Amsterdam |
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| Nicolaas van der Waay Portrait of painter George Hendrik Breitner ca. 1895 watercolor Rijksmuseum, Amsterdam |
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| Nicolaas van der Waay Ballerinas on Strike ca. 1920 oil on canvas private collection |
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| Nicolaas van der Waay Soirée at the Hotel Meranerhof ca. 1920 watercolor private collection |
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| Nicolaas van der Waay Self Portrait 1922 oil on canvas Cultureel Erfgoed, Amersfoort |
"Nicolaas van der Waay (1855-1936) was a solid artist who, in the tradition of his teacher August Allebé, was committed to naturalism – and not Impressionism, the movement in which line was neglected. After training for several years in the Rijksakademie, Van der Waay won a Prix de Rome and spent the mid-1880s in Italy copying Old Masters. His art was primarily characterized by thorough craftsmanship and meticulous workmanship; in the 1890s he began to receive important state commissions. After the rise of the Modernism of Jan Sluyters and Leo Gestel in the early 20th century, Van der Waay's art suffered. His work was rejected in 1913 by his former students who now formed the jury of the St. Lucas artists' association. Light and freedom of form and composition became important criteria. Many others were outraged by the jury's rejection of the older painters. The conflict led to a polarization of the "blues" (the Modernists) and the "browns" (the traditionalists). This meant that the division between the camps of Amsterdam art was institutionalized between the "highest expression of subjective experience" of the younger artists, and the "idealism in symbiosis with reportage realism" represented by Van der Waay and his allies."
– adapted from a biographical sketch published by Studio 2000, Hilversum