Paper
Name Class Date

Andries Van Eertvelt, Ships in a Storm, Andries van Eertvelt (attributed to), 1600 - 1652 (1652). Public domain. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Andries Van Eertvelt topimpressionists.com/en/artists/andries-van-eertvelt/
Artist’s dates
1590 – 1652
Painted
1652
Original size
38 x 107 cm

In context

Ships in a Storm, Andries van Eertvelt (attributed to), 1600 - 1652 — Andries Van Eertvelt

How big is it?

The original measures 38 × 107 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1590
  2. 1600
  3. 1610
  4. 1620
  5. 1630
  6. 1640
  7. 1650

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 62 at death.

Painted when the artist was 62. The artist lived to 62. 4 of the 5 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of Andries Van Eertvelt (1590–1652) ▲ this work, 1652 every dated painting, decade by decade

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: topimpressionists.com/en/art/similar/andries-van-eertvelt-ships-in-a-storm-andries-van-eertvelt-attributed-D37FGG-en/

Colours

Measured from the image

    Main colour

    Walnut #664c22

    Catalogued palette

    • #664C22
    • #353026
    • #A77932
    • #8D6320

    These colours inside the artist’s whole palette Find other paintings by colour

    Palette
    Dark The dominant colour family in the image.
    Main colour name
    Walnut
    Intensity
    Vivid How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Gentle How much the colours differ in lightness and saturation across the picture.
    Harmony
    Unified Palette How well the colours work together, from clashing to fully unified.
    Brightness
    Shadow How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Clear Color Presence How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Andries Van Eertvelt over the last twelve months — 3 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 63.6%
    2. 2 Sweden 27.3%
    3. 3 Germany 9.1%

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 8 most looked-at works by Andries Van Eertvelt

    1. 1 Naval Battle of Guetaria in (1638) 27.3%
    2. 2 Untitled (833) 18.2%
    3. 3 Sea Battle, 1627 9.1%
    4. 4 Ships in Peril, 1623 9.1%
    5. 5 Marine 9.1%
    6. 6 Battle of Lepanto, 1629 9.1%
    7. 7 The Santa Maria at anchor 9.1%
    8. 8 Ships in a Storm, Andries van Eertvelt (attributed to), 1600 - 1652, 1652 this painting 9.1%

    Together these works take 100.0% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 21 works by this artist, of which 8 were looked at at least once. This painting ranks 8 of them, with 9.1% of that attention. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    About this artwork

    Ships in a Storm, Andries van Eertvelt (attributed to), 1600 - 1652 — Andries Van Eertvelt

    Sea view with some ships at sea during a storm.

    Artist and museum

    Artist

    Andries Van Eertvelt

    Born in Antwerp, Belgium

    The Master of the Flemish Seas: The Life and Legacy of Andries van Eertvelt

    In the golden age of Flemish painting, when the salt spray of the North Sea met the burgeoning maritime power of the Low Countries, one artist emerged to capture the untamed spirit of the ocean. Andries van Eertvelt, born in Antwerp in 1590, was not merely a painter of water and wind; he was a pioneer who redefined the boundaries of marine art. While his contemporaries often focused on the terrestrial triumphs of portraiture or religious devotion, van Eertvelt turned his gaze toward the horizon, finding profound drama in the churning waves, the creaking timber of Dutch ships, and the perilous beauty of naval warfare.

    Van Eert velt’s journey began in the heart of Antwerp, a city pulsating with artistic energy. Baptized in the magnificent Antwerp Cathedral, his early years were steeped in the traditions of the Guild of St. Luke, where he officially registered as a master in 1609. Though the records of his formal apprenticeship remain lost to time, his technical prowess suggests a rigorous foundation in the Flemish tradition. His life, however, was marked by both personal tragedy and profound wanderlust. Following the death of his wife, Catherine de Vlieger, in the mid-1620s, van Eertvelt embarked on a transformative journey through Italy. Accompanied by his pupil, Matthieu van Plattenberg, he found himself in Genoa between 1628 and 1630, living alongside the renowned marine artist Cornelis de Wael. This period of Mediterranean exposure likely infused his work with a new understanding of light and atmosphere, bridging the gap between the rugged Northern maritime style and the luminous sensibilities of the South.

    A Symphony of Storm and Steel

    The true genius of van Eertvelt lies in his ability to translate the chaotic energy of the sea into a structured, emotive visual narrative. He was one of the first Flemish artists to specialize specifically in marine subjects, moving beyond mere background scenery to make the ocean the central protagonist of his canvases. His work often oscillates between two distinct modes: the terrifying intensity of naval combat and the serene, yet powerful, majesty of the open sea.

    In his depictions of battle, such as the epic The Battle of Lepanto or his visceral Sea Battle, the viewer is thrust into the heart of the conflict. Here, the artist employs a masterful command of Baroque dynamism, using thick textures and dramatic lighting to convey the smoke of cannon fire, the splintering of masts, and the desperate struggle of sailors amidst the waves. Conversely, in works like Two Ships at Anchor, he demonstrates an incredible capacity for stillness and realism. In these compositions, the focus shifts to the subtle play of light upon calm waters and the meticulous detail of the vessels, showcasing a profound respect for the technical anatomy of the ships that defined his era.

    His artistic repertoire was remarkably diverse, encompassing:

    Dramatic Seascapes: Capturing the overwhelming power of storms and the turbulent motion of heavy swells.

    Maritime Portraits: Detailed renderings of Dutch and Flemish vessels, serving as both art and historical record.

    Naval Warfare: Intense, action-oriented scenes that utilize light and shadow to heighten the sense of peril.

    Harbor Views: Observational studies of maritime commerce and the bustling life of coastal ports.

    Historical Significance and Enduring Influence

    The historical importance of Andries van Eertvelt cannot be overstated. By carving out a specialized niche within the Flemish school, he laid the groundwork for generations of marine painters who would follow in his wake. He transformed the sea from a mere setting into a psychological landscape capable of expressing human vulnerability and triumph. His ability to blend the meticulous detail required by the Northern tradition with the dramatic, theatrical flair of the Baroque movement allowed him to create works that were both intellectually stimulating and emotionally resonant.

    As a master, draughtsman, and engraver, his influence extended far beyond his own brushstrokes; many of his pupils went on to become prominent figures in the maritime art world, ensuring that his vision of the sea continued to evolve. Today, when we look upon a van Eertvelt seascape, we are not just looking at water and wood; we are witnessing the birth of a genre. His legacy remains etched in the salt-stained canvases of history, reminding us of a time when the mastery of the elements was the ultimate frontier of artistic expression.

    Where to read more

    • The artist Andries Van Eertvelt topimpressionists.com/en/artists/andries-van-eertvelt/
    • Similar works More works to compare topimpressionists.com/en/art/similar/andries-van-eertvelt-ships-in-a-storm-andries-van-eertvelt-attributed-D37FGG-en/

    Find this online

    QR code linking to the download page for Ships in a Storm, Andries van Eertvelt (attributed to), 1600 - 1652

    topimpressionists.com/en/art/download/andries-van-eertvelt-ships-in-a-storm-andries-van-eertvelt-attributed-D37FGG-en/

    Cite this artwork

    MLA
    Eertvelt, Andries Van. Ships in a Storm, Andries van Eertvelt (attributed to), 1600 - 1652. 1652, https://topimpressionists.com/en/art/andries-van-eertvelt-ships-in-a-storm-andries-van-eertvelt-attributed-D37FGG-en/
    APA
    Eertvelt, Andries Van (1652). Ships in a Storm, Andries van Eertvelt (attributed to), 1600 - 1652 [Painting]. https://topimpressionists.com/en/art/andries-van-eertvelt-ships-in-a-storm-andries-van-eertvelt-attributed-D37FGG-en/
    Chicago
    Andries Van Eertvelt. Ships in a Storm, Andries van Eertvelt (attributed to), 1600 - 1652. 1652. https://topimpressionists.com/en/art/andries-van-eertvelt-ships-in-a-storm-andries-van-eertvelt-attributed-D37FGG-en/
    Harvard
    Eertvelt, Andries Van (1652) Ships in a Storm, Andries van Eertvelt (attributed to), 1600 - 1652. Available at: https://topimpressionists.com/en/art/andries-van-eertvelt-ships-in-a-storm-andries-van-eertvelt-attributed-D37FGG-en/

    Look closely

    Ships in a Storm, Andries van Eertvelt (attributed to), 1600 - 1652 — Andries Van Eertvelt

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Look back at Sea Battle (1627), earlier in this guide. Name two things it shares with this work, and one that is different.
    4. Andries Van Eertvelt was about 62 when this was made. What in it looks like the work of an artist at that stage?
    5. What might the artist have wanted you to feel?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Questions & Answers

    What luminance does "Ships in a Storm, Andries van Eertvelt (attributed to), 1600 - 1652" by Andries Van Eertvelt have?

    The colors of "Ships in a Storm, Andries van Eertvelt (attributed to), 1600 - 1652" show a soft shadow luminance.

    What colors dominate "Ships in a Storm, Andries van Eertvelt (attributed to), 1600 - 1652" by Andries Van Eertvelt?

    "Ships in a Storm, Andries van Eertvelt (attributed to), 1600 - 1652" by Andries Van Eertvelt uses a dark palette, with walnut (#664c22) as the dominant color.

    Is "Ships in a Storm, Andries van Eertvelt (attributed to), 1600 - 1652" by Andries Van Eertvelt a light or a dark artwork?

    "Ships in a Storm, Andries van Eertvelt (attributed to), 1600 - 1652" is shadow overall, and its luminance is soft shadow.