Men at work in Dutch art, or keeping one's nose to the grindstone

87. Van Dijk, "Zwolse schilders," 47, identifies them as the Gelderse tower and the Luttekepoort, though she suggests that the artist has taken certain liberties.

88. On de Hooch's courtyard scenes, see Martha Hollander, "Public and Private Life in the Art of Pieter de Hooch," Nederlands Kunsthistorisch Jaarboek 51 (2000): 273-93. Ter Borch is recorded in Delft in 1653, and visual evidence suggests the familiarity of both de Hooch and Vermeer with his paintings. See Arthur K. Wheelock Jr., "The Artistic Development of Gerard ter Borch," in Wheelock, Gerard ter Borch, 15.

89. Wolf, Vermeer, 58-59, interprets de Hooch's courtyard scenes as "utopian spaces" and "domestic idylls."

90. "Picturesque" evolved considerably in definition over the decades. By the late eighteenth century in France, the definition had changed from its definition both in the mid-seventeenth-century Dutch Republic and in the late seventeenth century. The description of Ter Borch's The Grinder's Family in the Recueil d'estampes gravees d'apres les tableaux du Cabinet de Monseigneur le Due de Choiseul (Paris, 1771), no. 60, calls the painting pittoresque: "L'exterieur d'une maison de paysan batie en brique, d'une composition tres pittoresque ...." The painting's first recorded owner was the duc de Choiseul. On changing definitions of the "picturesque," see Bakker, "Schilderachtig."

91. See Bakker, "Schilderachtig," 154, who discusses Dutch art's similar rejection of subjects connected with the urban development projects in the cities. See also Ann Jensen Adams, "Competing Communities in the 'Great Bog of Europe,'" in Landscape and Power, ed. W. J. T. Mitchell (Chicago: University of Chicago Press, 1994), 35-76; Stone-Ferrier, "Rembrandt's Landscape Etchings," esp. 417-19; Linda Stone-Ferrier, "Inclusions and Exclusions: The Selectivity of Adriaen van Ostade's Etchings," in S. William Pelletier et al., Adriaen van Ostade: Etchings of Peasant Life in Holland's Golden Age, University of Georgia, Georgia Museum of Art, Athens, 1994, 21-29; and Haverkamp Begemann, "Ruisdael's Interest in Construction."

92. Audrey M. Lambert, The Making of the Dutch Landscape: An Historical Geography of the Netherlands (London: Academic Press, 1985), 208-12; and Leo Noordegraaf, "Dutch Industry in the Golden Age," in K. Davids and Noordegraaf, The Dutch Economy of the Golden Age (Amsterdam: Netherlands Economic History Archives, 1993), 131-57, esp. 152.

93. See Stephen Daniels, Joseph Wright, British Artists (Princeton: Princeton University Press, 1999), chap. 3. On nineteenth-century images of industrial blacksmiths by James Sharples, an amateur artist and professional smith, see Barringer, Men at Work, chap. 3. For the images by Tintoretto and others, see Turk, Bilder der Arbeit, 74-76.

94. On Madox Brown, see Barringer, Men at Work, chap. 1 and fig. 8; on Bell Scott, ibid., 159, fig. 70. My thanks to Baird Jarman for discussing with me his observations on nineteenth-century images of work.