Die Predigt des Täufers

1583–1603

Evenings of drawing and pupils in his home

After the Calvinist iconoclasm religious themes have gone out of fashion and mythology has become popular, but few painters could afford a trip to Italy, so van Mander receives budding artists in his home for evenings of communal drawing and study of classical mythology, to educate them in the proper techniques. A firm believer in the hierarchy of genres, and in the idea that true-to-life historical allegories can be achieved only through proper study of existing works, he counts Frans Hals and Hendrick Gerritsz Pot among his Haarlem pupils.

1583–1603

Inventory of Haarlem's art collection

While translating Vasari's “Lives” into Dutch, van Mander is offered a commission by the Haarlem city fathers to inventory “their” art collection — the city had confiscated all Catholic religious art after the Satisfaction of Haarlem, which gave Catholics equal rights with Protestants, was overturned in 1578. The work lasts twenty years and yields the chapters of his future “Schilder-Boeck” on Early Netherlandish painters.

1597

“De Gulden Harpe”: first spiritual poems

The poetry volume “De Gulden Harpe” (“The Golden Harp”) is published — longwinded versifications of biblical stories meant to educate readers in biblical words. His style develops under the influence of his translations of classical literature from the French, above all the Iliad and Virgil's Bucolica and Georgica.