Who painted Entry of Marie de Medici into Amsterdam [plate 4 of 6]?

Entry of Marie de Medici into Amsterdam [plate 4 of 6] was painted by Pieter Nolpe in 1638.

Where can I see Entry of Marie de Medici into Amsterdam [plate 4 of 6]?

Entry of Marie de Medici into Amsterdam [plate 4 of 6] is held by National Gallery of Art.

What movement is Entry of Marie de Medici into Amsterdam [plate 4 of 6]?

Entry of Marie de Medici into Amsterdam [plate 4 of 6] is associated with Baroque.

Can I buy a print of Entry of Marie de Medici into Amsterdam [plate 4 of 6]?

Museum-quality prints of Entry of Marie de Medici into Amsterdam [plate 4 of 6] are available made-to-order from Artifact World Gallery.

Artwork

Entry of Marie de Medici into Amsterdam [plate 4 of 6]

Pieter Nolpe , 1638

Entry of Marie de Medici into Amsterdam [plate 4 of 6] is an ink print by the Baroque artist Pieter Nolpe. It dates from 1638 and is held in the collection of the National Gallery of Art.

About this work

Overview

Pieter Nolpe’s 1638 etching, titled Entry of Marie de Medici into Amsterdam, forms the fourth plate of a six‑image series. Executed in the print medium, the work records a ceremonial procession, rendered with a high level of line work that conveys both movement and atmosphere.

Subject & Meaning

The composition centers on a line of mounted riders advancing toward the right, their horses captured in varied postures, some rearing. The riders are dressed in richly ornamented garments and tall hats, each bearing a long spear, suggesting a formal, possibly diplomatic, entry. Spectators gathered in the background observe the spectacle, emphasizing the public nature of the event.

Technique & Style

Nolpe employs fine, intersecting lines to model the figures and horses, creating texture in fabrics, armor, and the sky’s soft clouds. The depth achieved through cross‑hatching and tonal variation aligns the work with Baroque sensibilities, where dynamic movement and intricate detail are paramount.

History & Provenance

Created in the Dutch Republic during the early 17th century, the etching reflects contemporary interest in political pageantry. While specific ownership records are scarce, the series of six plates was likely circulated among collectors interested in current events and courtly representations.