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The Harbour of Delft. Photo by Museo de Arte de Ponce, Ponce, Puerto Rico.

Top 10 Intriguing Facts about Daniel Vosmaer

Daniel Vosmaer, the son of goldsmith Arent Woutersz. Vosmaer, was born in Delft in 1622. Nicolaes, his brother, was also a painter who specialized in seascapes. His teacher is unknown, but he was most likely a student of his uncle Jacob Woutersz. Vosmaer. In 1650, he became a member of the Delft guild.

Vosmaer married Annetje Eduwards de Neef in 1661 and moved to Den Briel, where his brother Abraham had lived since 1654. Despite living in Den Briel, he retained his Delft citizenship. He died in Den Briel in 1670. Vosmaer primarily created cityscapes. The majority of them depict Delft, but he also created some that depict Den Briel.

1. Daniel Vosmaer, like his brother Abraham, was a painter

He began by painting landscapes and later switched to townscapes, possibly due to their popularity following the Delft explosion of 1654. He was a Dutch painter who had been trained by his Uncle Woutertzz, a flower painter.

2. Since 1666, he has worked with Carel Fabritus on an intriguing series of documents

Carel Fabritus. Photo by

One of these documents, dated July 12th, 1666, mentions Vosmer as a resident of Den Briel, a town about 18 miles southwest of Rotterdam. A document dated October 1st, 1662 mentions Annetje Daniel’s wife. Daniel, like his brother Abraham, was involved in the town’s beer and wine taxation and had close ties with DenBriel’s regent and elite. A notary document dated January 16th transferred his lease on beer and wine taxation to his brother-in-law Rerjnier de Noel and Tonis Vander Fuijck.

3. Daniel Vosmaer’s painting ‘The Harbor of Delft’ may have distorted reality

The Harbour of Delft. Photo by Museo de Arte de Ponce, Ponce, Puerto Rico.

The Nieuwe Kerk tower appears surprisingly close, as half of the city is located between the church and the southern wall. The tower of the town hall, which is directly opposite the Nieuwe Kerk on the same square, appears very distant, whereas the tower of the Oude Kerk, which is another block to the north, appears close.

4. He was a part of the greatest imaginative impulse that emerged in the 1650s, Delft

The discovery of the architectonic beauty of light and space was made through the work of Carel Fabritius Vermeer, de Hooch, de Witte, and the painters of their circle, which included Vosmaer. The vision of Dutch painting during the Hals and Rembrandt periods was primarily concerned with human character and emotions. And the work of the Delft painters and human drama was muffled, allowing the silent beauty of light and space to shine through. Vermeer and de Hooch discovered this imaginative theme of light and space in Delft’s homes and gardens.

5. Daniel Vosmaer created a lovely painting of Bril

This painting by one of the most rare Dutch painters is of interest to many people, not only because of the subject’s charm and sensitive style, but also because it sheds more light on the great closing phase of Dutch seventeenth-century painting.

6. He had five children with his wife, Annetje Eduwards de Neeif

Daniel was a family man who frequently visited his relatives. He eventually met Annetje Eduwards de Neeif, widow of baker Jan Wisse. On August 23, 1661, they were married in Den Briel’s Gate Church (Saint Catherine’s).

The couple settled in town, and Daniel was baptized at the local church in November of that year. Catherijna, Maria, Arent, Anna, and Daniel were the couple’s five children. On May 7, 1670, his youngest son died shortly after his baptism.

7. The work of Daniel Vosmaer can be found in the Stedelijk Museum

Stedelijk Museum. Photo by Txllxt TxllxT.

Daniel was a landscape painter, a townscape painter after 1654, and a later painter of the Delft gunpowder devastation. In 1650, Guild. Several of his works can also be found in Delft’s Stedelijk Museum, de Prinsenholf. A painting depicting the explosion of the Delft gunpowder house, among other things.

8. On October 14, 1650, he registered as a master with the Delft Guild of Saint Luke

A View of Delft through an Imaginary Loggia. Photo by Web Gallery of Art:.

The Guild of Saint Luke had a significant impact on the lives of seventeenth-century Dutch painters. This professional trade organization for artists and artisans governed the trade and production of potters, engravers, glassmakers, tapestry makers, and so on.

The apprentice was exposed to the thoughts, opinions, and artistic theories that circulated rapidly between art studios in the master’s studio. A number of Dutch painters had traveled to Italy to study the works of the Italian Masters, returning with knowledge of new techniques and styles that spread quickly.
Daniel Vosmaer registered as a master, paying the standard 6- guilder fee levied on Delft residents. Michael Montias mentions Vosmaer in Delft in 1665, when he is said to have paid rent of 80 guilders.

9. Daniel Vosmaer was most likely a student of his uncle Jacob Woutersz Vosmae

This is due to the fact that Jacob was in the industry long before Daniel. Jacob began his career as a landscape specialist before switching to flowers, which brought him greater success. He traveled to Italy as a young man and returned to Delft at the age of 24 in 1608, where he became a respected citizen and major in the schutterij.

He joined the Delft Guild of St. Luke before 1613, where he studied under Jacob de Gheyn. Later he passed the knowledge on to his nephews Daniel and Abraham Vosmaer, as well as Danes Jakob Mogensen and Ebbe Ulfeld.

10. Daniel Vosmaer’s work has been auctioned off several times

Five assorted paintings on easels at an auction. Photo by Raychan.

Daniel Vosmaer was a painter of Dutch Old Masters. His work has been auctioned several times, with realized prices ranging from 2,000 USD to 2,901 USD depending on size and medium. Since 2010, the highest auction price for this artist has been $2,901 USD for Nattstycke – hus I brand, which was sold at Stockholms Auction House in 2010. Daniel Vosmaer is featured in Art Review; An Uncertain Present, a Heroic Past, a New York Times piece from April 2005, in MutualArt’s artist press archive.