90 Cabinet Pictures The staggering volume of paintings produced in the Netherlands during the 17th century mostly ended up in bourgeois homes, typically in the form of small or miniature works. Although likely exaggerated, travel accounts from the period describe paintings even hanging in the humblest of utility rooms. Over time, the contrast between the monumental works by the Italian Old Masters and the small-scale Netherlandish paintings became increasingly pronounced. Princely collections responded by structuring their galleries accordingly, with grand halls reserved for the former, and smaller side rooms for the latter. The Picture Gallery at Sanssouci Palace is a perfect example of this. The ruler of Mecklenburg, a region with comparatively modest resources, focused from the outset on the more affordable art from the Low Countries. As a result, the Schwerin collection contains an unusually high proportion of cabinet pictures. The museum presents these in their own gallery, enabling visitors to appreciate their thematic range. The hanging scheme makes no distinction between Flemish and Dutch works, a division that only emerged in the 19th century with the rise of modern nation-states. Among these modestly scaled works are some of the collection’s most prized treasures, including the world- famous The Sentry by Carel Fabritius. However, with its open brushwork, it appealed far less to 18th-century tastes than the charming The Duet by Frans van Mieris. This small panel by the renowned artist was the most expensive work ever purchased by Duke Christian Ludwig, costing a substantial 3,000 guilders. _GS 11
RkJQdWJsaXNoZXIy MTMyNjA1