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| Cornelis de Visscher the Younger Portrait of a Woman ca. 1649 drawing Hamburger Kunsthalle |
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| Wolfgang Heimbach Bathing Woman 1652 oil on canvas Rosenborg Castle, Copenhagen |
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| Bartholomeus van der Helst Portrait of actress Anna du Pire as Granida (in pastoral play Granida by Pieter Hooft) 1660 oil on canvas Národní Galerie, Prague |
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| Jan Mytens Portrait of a Woman ca. 1660-70 oil on canvas Musée des Beaux-Arts de Reims |
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| Constantijn Huygens the Younger Young Woman by Candlelight ca. 1660-70 drawing Rijksmuseum, Amsterdam |
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| Cornelis van Ceulen Portrait of Aletta Pater 1662 oil on canvas Centraal Museum, Utrecht |
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| Peter Lely and workshop Barbara Villiers, later Duchess of Cleveland ca. 1662-65 oil on canvas North Carolina Museum of Art, Raleigh |
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| Jacobus Leveck Portrait of Maria Braets van der Graeff 1664 oil on canvas Dordrechts Museum, Netherlands |
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| Lambert Doomer Venetian Woman (probably costume-portrait of Amsterdam woman) 1666 oil on canvas Agnes Etherington Art Centre, Kingston, Ontario |
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| Jan van Somer Portrait of a Lady 1668 drawing Kupferstichkabinett, Kunstmuseum Basel |
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| attributed to Pierre Mignard Portrait of Françoise-Marguerite de Sévigné, comtesse de Grignan (daughter of the writer) ca. 1669 oil on canvas Musée Carnavalet, Paris |
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| Charles Le Brun Henriette Sélincart, wife of Israël Silvestre ca. 1670 pastel on paper Musée des Beaux-Arts de Reims |
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| Johann Ulrich Mayr Portrait of a Young Woman ca. 1675 drawing Kupferstichkabinett, Kunstmuseum Basel |
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| Johan Thopas Portrait of a Girl ca. 1675-80 drawing Städel Museum, Frankfurt |
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| Jean Le Blond Memorial Portrait of Marie de Rohan, duchesse de Chevreuse ca. 1679 engraving Staatliche Graphische Sammlung, Munich |
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| Michael Dahl Portrait of a Young Woman ca. 1685 drawing British Museum |
Born to the spacious empire of the Nine,
One would have thought she should have been content
To manage well that mighty government;
But what can young ambitious souls confine?
To the next realm she stretched her sway,
For Painture near adjoining lay,
A plenteous province, and the alluring prey.
A chamber of dependencies was framed,
(As conquerors will never want pretence,
When armed, to justify the offence)
And the whole fief, in right of poetry, she claimed.
The country open lay without defence;
For poets frequent inroads there had made,
And perfectly could represent
The shape, the face, with every lineament,
And all the large domains which the Dumb Sister swayed;
All bowed beneath her government,
Received in triumph wheresoe'er she went.
Her pencil drew whate'er her soul designed,
And oft the happy draught surpassed the image in her mind.
The sylvan scenes of herds and flocks,
And fruitful plains and barren rocks,
Of shallow brooks that flowed so clear,
The bottom did the top appear;
Of deeper too and ampler floods
Which, as in mirrors, showed the woods;
Of lofty trees, with sacred shades,
And perspectives of pleasant glades,
Where nymphs of brightest form appear,
And shaggy satyrs standing near,
Which them at once admire and fear.
The ruins, too, of some majestic piece,
Boasting the power of ancient Rome or Greece,
Whose statues, friezes, columns, broken lie,
And, though defaced, the wonder of the eye;
What nature, art, bold fiction, e'er durst frame,
Her forming hand gave feature to the name,
So strange a concourse ne'er was seen before,
But when the peopled ark the whole creation bore.
– John Dryden, from To the Pious Memory of the Accomplished Young Lady Mrs. Anne Killigrew, Excellent in the Two Sister Arts of Poetry and Painting: an Ode (1686)