674
the uncannily premonitory, Gerard Ter Borg; and where van Goyen’s son-in-law,
Jan Steen, executed a wild family portrait, with van Goyen arguably seated in the
center. Dunne Bierkade #17—the Paulus Potter house; #18, home of van
Balckeneynde. Around the corner, Paviljoensgracht 72–74, also owned by van
Goyen, the home where Baruch (Benedict de) Spinoza lived for many years in exile
from Amsterdam and wrote his masterpiece, Etica, and then died there at the age of
44 in a kind of exile.
Other subsequent painters of The Hague’s Romantic Pulchri Studio, which was
instituted in 1847, like Bartholomeus van Hove, Johannes Bosboom, and Pieter
Stortenbeker who would repaint the ceiling of the front room of Potter’s house. It
was there at #18 where Potter did much of his work on “De jonge Steier” in 1647,
the most evocative and gripping portrait of a large vertebrate in the history of art,
nearly 9 feet by 11 feet, and eventually moved a few blocks away to the top floor of
Fig. 73.2 The Quintessence of Human Domesticity: The View From Jan Van Goyen’s Studio, The
Hague. (Photo © M.C. Tobias)
73 Metaphorical Realities
the uncannily premonitory, Gerard Ter Borg; and where van Goyen’s son-in-law,
Jan Steen, executed a wild family portrait, with van Goyen arguably seated in the
center. Dunne Bierkade #17—the Paulus Potter house; #18, home of van
Balckeneynde. Around the corner, Paviljoensgracht 72–74, also owned by van
Goyen, the home where Baruch (Benedict de) Spinoza lived for many years in exile
from Amsterdam and wrote his masterpiece, Etica, and then died there at the age of
44 in a kind of exile.
Other subsequent painters of The Hague’s Romantic Pulchri Studio, which was
instituted in 1847, like Bartholomeus van Hove, Johannes Bosboom, and Pieter
Stortenbeker who would repaint the ceiling of the front room of Potter’s house. It
was there at #18 where Potter did much of his work on “De jonge Steier” in 1647,
the most evocative and gripping portrait of a large vertebrate in the history of art,
nearly 9 feet by 11 feet, and eventually moved a few blocks away to the top floor of
Fig. 73.2 The Quintessence of Human Domesticity: The View From Jan Van Goyen’s Studio, The
Hague. (Photo © M.C. Tobias)
73 Metaphorical Realities