Who painted Portret van Maria Rey (1630/31-1703), wife of Roelof Meulenaer?

Portret van Maria Rey (1630/31-1703), wife of Roelof Meulenaer was painted by Ferdinand Bol in 1650.

Where can I see Portret van Maria Rey (1630/31-1703), wife of Roelof Meulenaer?

Portret van Maria Rey (1630/31-1703), wife of Roelof Meulenaer is held by Rijksmuseum.

What movement is Portret van Maria Rey (1630/31-1703), wife of Roelof Meulenaer?

Portret van Maria Rey (1630/31-1703), wife of Roelof Meulenaer is associated with Dutch Golden Age.

Artwork

Portret van Maria Rey (1630/31-1703), wife of Roelof Meulenaer

Ferdinand Bol , 1650

Portret van Maria Rey (1630/31-1703), wife of Roelof Meulenaer is an oil painting by the Dutch Golden Age artist Ferdinand Bol. It dates from 1650 and is held in the collection of the Rijksmuseum.

About this work

Overview

Ferdinand Bol’s oil portrait of Maria Rey, created circa 1650, exemplifies the Dutch Golden Age’s focus on individual likeness and domestic dignity. The work presents the sitter in a dark, richly textured gown with a high white collar, a decorative headpiece, and a hand‑held fan, set against a muted backdrop that hints at a distant landscape of trees and sky.

Subject & Meaning

Maria Rey, identified as the wife of merchant Roelof Meulenaer, is depicted with an air of quiet confidence. The elaborate lace, brooch, and headpiece signal her social standing, while the composed pose and direct gaze suggest personal virtue and the importance of familial representation in 17th‑century Dutch society.

Technique & Style

Bol employs a restrained chiaroscuro, allowing a soft, focused light to illuminate the sitter’s face and upper dress against a deep, shadowy background. The brushwork balances fine detail in the lace and jewelry with broader, atmospheric handling of the distant scenery, reflecting the influence of Bol’s master, Rembrandt, while maintaining his own compositional clarity.

History & Provenance

The portrait entered the Rijksmuseum’s collection, where it remains on display as part of the institution’s Dutch Golden Age holdings. Its attribution to Bol rests on stylistic analysis and documentary evidence linking the work to the mid‑17th‑century portrait market that served affluent Dutch families.