Updated October 2026 · ranked by our popularity score (searches, visits and orders for each work) · 41 works by Caesar van Everdingen in our catalogue
Summary
According to this ranking, Woman praying (1650) is the most famous painting by Caesar van Everdingen; the Rijksmuseum, Amsterdam, holds it. It is followed by Jupiter and Callisto (1655) and Winter (1646). This list draws on the 41 works by Caesar van Everdingen in the catalogue and records the 41 most famous, with date, holding museum and description for each entry.
The quiet intensity of Woman praying draws the viewer into a private moment of devotion. Attributed to the hand of Caesar van Everdingen, this intimate portrait captures a figure lost in contemplation. The work is also known by the title Mary Praying, as the subject is identified as the Virgin Mary. She exists in a space of profound stillness, her presence felt through the weight of her silent plea.
A single mask lies discarded in the upper corner, a silent witness to a deception. Beneath it, the nymph Callisto reclines upon heavy folds of fabric, her skin catching a pale, directional light that carves her form from the surrounding gloom. She looks upward, her gaze meeting the eyes of a man she believes to be a friend, yet the viewer sees the truth of his divinity. Jupiter stands near…
To gaze upon Caesar Van Everdingen’s Winter is to step directly into the hushed, contemplative atmosphere of the Dutch Golden Age. This painting, executed in 1646, transcends a mere depiction of a season; it captures an ephemeral moment—a pause in the rhythm of daily life under the soft dominion of winter's breath. The composition immediately draws the eye to the central figure: a young woman whose presence is both delicate…
In this 1631 oil painting, the tension of a mythological pursuit unfolds within a dense, shadowed landscape. Vertumnus, the god of seasons, is depicted as an older man seated upon the earth, his gaze directed upward toward Pomona. She is positioned to the right, her back turned to the viewer, her sculptural physique partially draped in white cloth. The composition relies on a heavy use of chiaroscuro, where dramatic light…
This work, titled Vertumnus and Pomona, is a significant example of the mythological painting produced by Caesar van Everdingen. The piece is dated about 1637–1640, a period during which the artist was establishing his presence within the Dutch Golden Age. It is a work that captures a specific moment of classical narrative, rendered with the precision characteristic of his training in Utrecht.
In this 1641 portrait, we find ourselves standing before a dense assembly of men, the officers of the Orange Company of the Old Civic Guard. There is a certain weight to the composition, a horizontal arrangement that feels both crowded and deeply organized. These men are not merely subjects; they are a collective force, their postures providing a structural rhythm to the canvas. The lighting, descending from the upper left,…
This 1636 oil portrait presents a three-quarter length view of an elderly woman, Aechje Claesdr. Moer, set against a somber, atmospheric backdrop. The composition relies on a sharp tonal contrast between her dark, light-absorbing gown and a large, bright white ruff collar. This millstone ruff, with its rhythmic pleats, directs the eye toward the subject's face, which is rendered with naturalistic precision. A soft, directional light enters from the upper…
A woman occupies the foreground, her gaze directed toward the viewer from a waist-up perspective. She is positioned within a rural, village setting characterized by traditional thatched-roof huts and sparse vegetation. The composition utilizes linear perspective to draw the eye toward these structures, creating a sense of depth behind the central figure. Natural, bright daylight illuminates the scene, casting soft shadows that define the textures of her skin and the…
This Baroque-style oil painting presents an intimate mythological scene featuring two figures, Vertumnus and Pomona, set against a dark and atmospheric landscape. The composition centers on a tactile exchange of fruit between a seated figure on the left and a woman on the right. The scene is characterized by a dramatic use of chiaroscuro, where light highlights the faces and hands of the subjects while casting much of the background…
The work before us is the Portrait of an unknown girl, a quiet study by the Dutch Golden Age painter Caesar van Everdingen. This portrait, which is also known by the titles Girl in a Large Hat or Meisje met brede hoed, offers a glimpse into the meticulous portraiture practiced during the mid-17th century. It captures a sense of individual presence through a restrained and dignified approach to the subject.
Officers and standard-bearers of New Civic Guard in Alkmaar1657 · Stedelijk Museum
12
Portrait of Cornelis Jacobsz. Groot (?-1661)1656 · Kunsthandel P. de Boer
13
Four Muses and Pegasus on Parnassus1650 · Huis ten Bosch
14
Lycurgus Demonstrates the Benefits of Education1660 · Stedelijk Museum
15
Self-portrait of Caesar van Everdingen (?-1678)1670 · Stedelijk Museum
16
Portrait of a woman, possibly a sister of Cornelis Jacobsz. Groot1664 · Kunsthandel P. de Boer
17
Portrait of Wollebrand Geleynsz de Jongh (1594-1674), with a servant and a child1674 · Stedelijk Museum
18
Four Evangelists: John1676 · Stedelijk Museum
19
Four Evangelists: Luke1676 · Stedelijk Museum
20
Four Evangelists: Mark1676 · Stedelijk Museum
21
Joueuse de Cistre1678 · Musée des Beaux-Arts de Rouen
22
Allegory of the Birth of Frederik Hendrik1650 · Huis ten Bosch
23
Female Figure, possibly Lucretia1793 · Nationalmuseum
24
Diogenes Seeks a True Man1652 · Mauritshuis
25
Still-Life with a Bust of Venus1665 · Mauritshuis
26
View of the Oranjezaal1650 · Huis ten Bosch
27
Amor Holding a Glass Orb1660
28
Count Willem II of Holland Granting Privileges1655 · Gemeenlandshuis
29
Officers and Standard-Bearers of the Old Civic Guard1657 · Stedelijk Museum
30
Nymphs Offering the Young Bacchus Wine, Fruit and Flowers1670 · Museum Kunstpalast
31
Holy Family1660 · Museum Catharijneconvent
32
Portrait of a Girl as a Huntress1665 · Koninklijk Museum voor Schone Kunsten
33
Portrait of a Two-Year-Old Boy1664 · Cannon Hall Museum
34
Elisabeth van Kessel (1640-1717), Wife of Willem Jacobsz Baert, Caesar Boëtius van Everdingen, 16711671 · Rijksmuseum
35
Willem Jacobsz Baert (1636-84), Burgomaster of Alkmaar and Amsterdam, Caesar Boëtius van Everdingen, 16711671 · Rijksmuseum
36
The four muses with pegasusHuis ten Bosch
37
Portrait of a Dutch CommanderNational Gallery
38
Bacchus with Two Nymphs And Cupid
39
Pan and Syrinx, Caesar Boëtius van Everdingen, c. 1637 - c. 16401640 · Rijksmuseum
40
Girl in a Large Hat1647 · Rijksmuseum
41
Bacchus with Nymphs and Cupid1660 · Gemäldegalerie
The four subjects most frequently represented among these works, each with its best-known example.
The 8 museums that hold the most of the paintings on this page.
| Museum | City | Works by Caesar van Everdingen | Paintings from this list |
|---|---|---|---|
 Stedelijk Museum |
Alkmaar | 11 | Officers of the Orange Compagny of the Old Civic Guard, Portret van Aechje Claesdr. Moer (1585-1640), Portrait of Pieter Cornelisz. van Everdingen (1575-1662) |
 Rijksmuseum |
Amsterdam | 6 | Woman praying, Winter, Elisabeth van Kessel (1640-1717), Wife of Willem Jacobsz Baert, Caesar Boëtius van Everdingen, 1671 |
 Huis ten Bosch |
The Hague | 4 | Four Muses and Pegasus on Parnassus, Allegory of the Birth of Frederik Hendrik, View of the Oranjezaal |
 Nationalmuseum |
Stockholm | 2 | Jupiter and Callisto, Female Figure, possibly Lucretia |
 Kunsthandel P. de Boer |
2 | Portrait of Cornelis Jacobsz. Groot (?-1661), Portrait of a woman, possibly a sister of Cornelis Jacobsz. Groot | |
 Mauritshuis |
The Hague | 2 | Diogenes Seeks a True Man, Still-Life with a Bust of Venus |
 Thyssen-Bornemisza Museum |
Madrid | 1 | Vertumnus and Pomona |
 J. Paul Getty Museum |
Los Angeles | 1 | Vertumnus and Pomona |
Select a decade to display its principal painting.
In this 1631 oil painting, the tension of a mythological pursuit unfolds within a dense, shadowed landscape. Vertumnus, the god of seasons, is depicted as an older man seated upon the earth, his gaze directed upward toward Pomona. She is positioned to the right, her back turned to the viewer, her sculptural physique partially draped in white cloth. The composition relies on a heavy use of chiaroscuro, where dramatic light…
To gaze upon Caesar Van Everdingen’s Winter is to step directly into the hushed, contemplative atmosphere of the Dutch Golden Age. This painting, executed in 1646, transcends a mere depiction of a season; it captures an ephemeral moment—a pause in the rhythm of daily life under the soft dominion of winter's breath. The composition immediately draws the eye to the central figure: a young woman whose presence is both delicate…
The quiet intensity of Woman praying draws the viewer into a private moment of devotion. Attributed to the hand of Caesar van Everdingen, this intimate portrait captures a figure lost in contemplation. The work is also known by the title Mary Praying, as the subject is identified as the Virgin Mary. She exists in a space of profound stillness, her presence felt through the weight of her silent plea.
In Lycurgus Demonstrates the Benefits of Education by Caesar van Everdingen, a crowded assembly of men occupies a space of shifting planes. The composition is dynamic, arranging figures across multiple levels—from a raised platform in the rear to steps and seated positions in the foreground. A central group dominates the immediate view, while other figures recede into the distance. Diagonals cut through the scene, pulling the eye through the gathering…
Woman praying (1650), Rijksmuseum, Amsterdam. The following entries are Jupiter and Callisto (1655) and Winter (1646).
34 years: Caesar van Everdingen was born in 1616 and Woman praying is dated 1650.
Woman praying, Jupiter and Callisto, Winter, Vertumnus and Pomona, Vertumnus and Pomona, Officers of the Orange Compagny of the Old Civic Guard, Portret van Aechje Claesdr. Moer (1585-1640), Portrait of Pieter Cornelisz. van Everdingen (1575-1662), Vertumnus and Pomona and Portrait of an unknown girl. The list above records the date and holding museum of each.
The catalogue records 41 works by Caesar van Everdingen, dated between 1631 and 1678.
Principally in Stedelijk Museum (Alkmaar), Rijksmuseum (Amsterdam) and Huis ten Bosch (The Hague). The museum table above gives the full distribution.
In 1650s: 12 of the 41 works listed on this page are dated to that period, including Woman praying.
The earliest dated work listed here is Vertumnus and Pomona (1631); the latest is Joueuse de Cistre (1678).
Woman (9), Man (4) and Foliage (3), out of the 41 works listed on this page.
Oil On Canvas, in 12 of the 41 works listed on this page.
Baroque and Dutch golden age, as documented by the works on this page.
Officers of the Orange Compagny of the Old Civic Guard, Portret van Aechje Claesdr. Moer (1585-1640) and Portrait of Pieter Cornelisz. van Everdingen (1575-1662) are among the 11 works on this page in the collection of the Stedelijk Museum, Alkmaar.
In the golden era of Dutch painting, where the interplay of light and shadow defined a nation's visual identity, Caesar van Everdingen emerged as a master of subtle emotion and atmospheric depth. Born around 1616 in the historic city of Alkmaar, Netherlands, his artistic journey was deeply intertwined with the prestigious lineage of his family. While often discussed alongside his celebrated brothers, Allart and Jan, Caesar carved out a distinct space for himself within the Dutch Golden Age. His early training under the esteemed Jan Gerritsz van Bronckhorst in Utrecht provided him with a rigorous foundation in classical aesthetics, instilling in him a precision that would later allow him to transcend mere technical skill and achieve true artistic vision.
His professional ascent began in earnest in 1632 when he officially joined the guild in Alkmaar. During these formative years, his repertoire was characterized by meticulous portraits and evocative genre scenes, works that demanded an intense observation of the human condition. However, as his talent matured, so too did his ambition. He moved beyond the confines of literal representation, developing a unique ability to manipulate brushstrokes to capture the fleeting nuances of light and the weight of atmosphere. This evolution marked his transition from a skilled craftsman to a visionary painter capable of breathing life into the canvas.
A pivotal chapter in Van Everdingen’s life unfolded in 1648 when he relocated to the vibrant, culturally rich city of Haarlem. This move was more than a change of scenery; it was an immersion into the heart of the Dutch art world. By joining the prestigious Haarlem Guild of St. Luke and becoming active within the schutterij (civic guard), Caesar embedded himself in the very fabric of the city's social and political elite. These connections proved instrumental in securing commissions that would define his historical significance.
Perhaps the most breathtaking achievement of his career was his involvement in the decoration of the Oranje Zaal (Orange Room) within the Huis ten Bosch. This monumental undertaking required a mastery of large-scale historical painting, a genre that demanded both narrative complexity and grand scale. In this setting, Caesar demonstrated his prowess in composing epic scenes, blending historical gravity with a delicate touch. His work during this period showcased a burgeoning ability to handle complex compositions, ensuring that his name would be etched into the architectural history of the Netherlands.
In his later years, Caesar returned to his roots in Alkmaar, establishing a workshop that became a sanctuary for artistic instruction. This period of his life was marked by a profound dedication to the refinement of his craft and the mentorship of a new generation of painters. His late works reflect a lifetime of accumulated wisdom, characterized by a recurring fascination with celestial and ethereal themes. He became particularly renowned for his depictions of winged figures—angels and divine beings—rendered with a softness that suggested the presence of the sublime.
The significance of Caesar van Everdingen lies not only in his individual masterpieces but in his role as a bridge between the rigorous traditions of the early 17th century and the more emotive, atmospheric styles that followed. His ability to marry the precision of Dutch portraiture with the grandeur of historical narrative remains a testament to his versatility. Today, his works serve as vital windows into the soul of the Dutch Golden Age, reminding us of a time when every brushstroke was an attempt to capture the eternal within the ephemeral.
