Hand-painted oil on canvas in your size and frame, made to order by our artists. ( Switch to Print
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Above 105 cm the frame is shipped as a kit for a professional framer — read the details.
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This elegant plaque features the artist's name and the title of the artwork, finely engraved for a timeless presentation.
It is made from bronze with a refined, elegant finish. The text is precisely laser-engraved for a sharp and permanent result. Measuring 9x2 cm, the plaque is compact yet easy to read. It's built to be durable and scratch-resistant, offering a professional, museum-quality look. Mounting is simple thanks to the included adhesive backing.
The plaque includes essential engraved details such as the artist's name, the title of the artwork, the date it was created, the type of media used-like oil on canvas or watercolor-a brief description of the piece, and a QR code that links to the complete artwork information.
It is crafted from clear acrylic, offering a sleek, modern appearance. The text is UV-engraved in black to ensure strong visual contrast. With a size of 10x15 cm, it ensures optimal readability. It comes equipped with two metal hooks for secure wall mounting. The plaque is designed to be weather-resistant, making it suitable for various environments, and it includes interactive features that work seamlessly with smartphone scanning.
This elegant plaque includes engraved information such as the artist's name, the title of the artwork, the date it was created, the type of media used (like oil on canvas or watercolor), a short description of the artwork, and a QR code for quick access to more information.
The plaque itself is made from refined black acrylic with a premium finish. The text is laser-engraved in white for high contrast and readability. Its size is 10x15 cm, designed to be easy to read. It comes with two metal hooks for professional mounting. The design is sleek and fits any interior style. It is also weather-resistant and durable, with built-in digital integration for mobile compatibility.
Gerard ter Borch’s ‘Le Duo’ captures a tranquil Dutch Golden Age scene of a singer and lutenist, showcasing meticulous realism and psychological depth. Explore this intimate genre painting and discover its timeless beauty.
A master of Dutch genre painting known for The Letter. Discover his intimate scenes and exquisite realism today.
Gerard ter Borch’s “Le Duo: chanteuse et joueur de luth théorbé,” painted around 1669-1670, stands as a quintessential example of Dutch genre painting—a movement that sought to depict everyday life with remarkable realism and psychological depth. This captivating scene unfolds within a modestly furnished interior, dominated by a dark background that serves to heighten the visual impact of the figures at its center – a man diligently playing a lute and a woman gracefully singing from sheet music. This serene domestic tableau embodies the spirit of Dutch Golden Age genre painting, capturing a moment of quiet contemplation and artistic expression. ## The Essence of Tranquility: Gerard ter Borch’s “Le Duo” Gerard ter Borch (II), born in Zwolle in 1617 and passing away in Deventer in 1681, stands as a pivotal figure in Dutch Golden Age painting—a master whose meticulous observation and profound understanding of human psychology continue to captivate audiences today. This essay delves into Gerard ter Borch’s “Le Duo: chanteuse et joueur de luth théorbé,” exploring its artistic merits and resonating significance within the broader context of Dutch Golden Age genre painting.
In the catalog, "LE DUO CHANTEUSE ET JOUEUR DE LUTH THEORBE" by Gerard ter Borch is filed as wall art. The category helps find similar works.
"LE DUO CHANTEUSE ET JOUEUR DE LUTH THEORBE" by Gerard ter Borch can be previewed on your own wall with the artwork's AR Preview page, using augmented reality on a compatible device.
"LE DUO CHANTEUSE ET JOUEUR DE LUTH THEORBE" by Gerard ter Borch shows a monochromatic color intensity.
1617 - 1681, Netherlands
December 1617 marks the beginning of Gerard ter Borch in Zwolle, within the province of Overijssel in the Dutch Republic. Artistry runs through his bloodline. His father, Gerard ter Borch the Elder, provides the initial instruction, shaping the young boy's early understanding of the craft. This familial inclination extends to his sister, Gesina ter Borch, who also pursues a career in painting.
The training moves from the domestic sphere to the urban centers of the Dutch Republic. By 1632, Gerard ter Borch is in Amsterdam. He likely studies under Willem Cornelisz Duyster or Pieter Codde, absorbing the technical foundations required for a professional career. The momentum continues in 1634 when he moves to Haarlem to study under Pieter de Molijn. This period of intense instruction culminates in 1635, when the eighteen-year-old is accepted into the Haarlem St. Lukas Guild, a formal recognition of his developing skill.
Ter Borch’s life moves across borders. By 1635, he is in London, absorbing the atmosphere of the English court. This period of movement continues through Germany and France, eventually leading him into the Mediterranean. In 1641, he reaches Rome. The Italian influence is immediate and specific; he works on copper, producing refined portraits such as Jan Six and A Young Lady. These small, detailed surfaces reflect a shift in his technical focus during his time in Italy.
The momentum carries him toward the Iberian Peninsula. In Madrid, his reputation reaches the Spanish court. Philip IV grants him knighthood, a rare distinction for a Dutch painter. This period of high-level patronage and international exposure marks a peak in his social and professional standing. After these excursions, he returns to the Netherlands, finding residence in Haarlem and later settling in Deventer, where he eventually becomes a member of the town council.
The 1640s bring a shift toward significant historical observation. In 1648, he captures the gravity of a major political turning point in The Ratification of the Treaty of Münster, 15 May 1648. This period also sees him refining the domestic scenes that define his reputation. The Knifegrinder's Family emerges from the 1630s to 1650s, a period where he focused heavily on the lives of common people and entertainers.
Texture becomes a primary language in his later output. In The Letter, light and the tactile quality of fabric take center stage. He moves from these intimate, quiet moments to more structured social settings. By 1655, works like The Glass of Lemonade demonstrate a continued mastery of light within domestic interiors. The focus remains on the subtle nuances of human interaction and the physical reality of the objects surrounding them.
His late career continues this precision. The Concert, dating from 1675, shows a settled artist still preoccupied with the interplay of light and shadow in a musical setting. His ability to render the sheen of polished surfaces and the delicate weave of drapery remains a constant throughout his decades of practice.
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