On the Dutch guardroom scene, see Carol Bigler Playter, Willem Duyster and Pieter Codde: The “Duyster Weereldt” of Dutch Genre Painting, c. 1625–1635 (Cambridge, 1972); Ellen Borger, De Hollandse kortegaard: Geschilderde wachtlocalen uit de Gouden Eeuw (Exh. cat. Vestingmuseum, Naarden, 1996) (Zwolle 1996); Nanette Salomon, Jacob Duck and the Gentrification of Dutch Genre Painting (Doornspijk, 1998), 33–68; David Kunzle, From Criminal to Courtier: The Soldier in Netherlandish Art, 1550–1672 (Leiden and Boston, 2002), passim; and Jochai Rosen, Soldiers at Leisure: The Guardroom Scene in Dutch Genre Painting of the Golden Age (Amsterdam, 2008).
Ter Borch’s Consultation, dated 1635 (oil on panel, 34.5 x 45.7 cm, Staatliche Museen zu Berlin—Preußischer Kulturbesitz, Gemäldegalerie, Berlin, inv. 791C), is based on a contemporary painting by David Teniers the Younger (oil on panel, 28 x 37 cm, Musées Royaux des Beaux-Arts de Belgique, Brussels, inv. 1459). See Sturla J. Gudlaugsson, Geraert ter Borch, 2 vols. (The Hague, 1959–60), 1:30–31; 2:55–56, no. 4. It is also possible that Ter Borch became aware of Brouwer’s work while still in the Netherlands, as the Flemish painter stayed briefly in Amsterdam and Haarlem in about 1626–27 and works by him might have been in circulation.
I am grateful to Jos Hilkhuijsen, curator at Het Legermuseum, Delft, for help in identifying the militaria depicted in this painting.
See Arthur K. Wheelock Jr., “The Artistic Development of Gerard ter Borch,” in Arthur K. Wheelock Jr. et al., Gerard ter Borch (Exh. cat. Washington D.C., National Gallery of Art; Detroit, Detroit Institute of Arts, 2004–5) (Zwolle, 2005), 9.
Other guardroom scenes by Ter Borch include: Interior of an Inn, 1636(?), oil on panel, 30.6 x 36.8 cm (Musée des Beaux-Arts, Rouen, inv. 818.1.10); Cavaliers, 1638(?), oil on panel, 33.4 x 42.5 cm (Victoria and Albert Museum, London, inv. CAI.84); Tric-trac Players, ca. 1640, oil on panel, 42 x 56 cm (Kunsthalle, Bremen, inv. 135-1856); Guardroom with Soldiers Playing Cards, ca. 1644, oil on panel, 29.4 x 37.5 cm (Stedelijk Museum, Zwolle, inv. NK2741 [on loan from the Rijksdienst voor het Cultureel Erfgoed]); Soldiers Playing Cards, ca. 1640–45, oil on panel, 41.6 x 51 cm (Staatliche Museen zu Berlin–Preußischer Kulturbesitz, Gemäldegalerie, Berlin, inv. 2081); and Soldiers Playing Cards before a Ruin, ca. 1643, oil on panel, 42 x 61.5 cm (collection Dr. H. Schaeffer, Berlin, 1929). See Sturla J. Gudlaugsson, Geraert ter Borch, 2 vols. (The Hague, 1959–60), 2:56–57, 59–60, and 64–66, nos. 6, 11, 12, 21, 24, and 25, respectively.
Sturla J. Gudlaugsson, Geraert ter Borch, 2 vols. (The Hague, 1959–60), 1:45.
See Ivan Gaskell, “Tobacco, Social Deviance, and Dutch Art in the Seventeenth Century,” in Holländische Genremalerei im 17. Jahrhundert, Jahrbuch Preußischer Kulturbesitz: Sonderband 4 (Berlin, 1987), 117–37.
As noted by Nanette Salomon, Jacob Duck and the Gentrification of Dutch Genre Painting (Doornspijk, 1998), 42.
On the interpretation of Ter Borch’s later paintings with military subjects specifically, see Alison McNeil Kettering, “Gerard ter Borch’s Military Men: Masculinity Transformed,” in The Public and Private in Dutch Culture of the Golden Age, ed. Arthur K. Wheelock Jr. and Adele Seeff (Newark, Del., 2000), 100–22.
Sturla J. Gudlaugsson, Geraert ter Borch, 2 vols. (The Hague, 1959–60), 1:44.
Entry based on a 2012 examination report by Jevon Thistlewood, paintings conservator, Ashmolean Museum, University of Oxford.
Fig 3. Gerard ter Borch, An Encampment of Soldiers Playing Cards, ca. 1640–45, oil on panel, 41.6 x 51 cm, Staatliche Museen zu Berlin–Preußischer Kulturbesitz, Gemäldegalerie, Berlin, inv. 2081, bpk Bildagentur / Gemäldegalerie, Staatliche Museen, Berlin, Germany / Jörg P. Anders / Art Resource, NY