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Samuel van Hoogstraten, another Dutch theorist and painter, painted genre andworks, the latter of which has more to do with pictorial sorcery than the search for uplifting content, even though he was awarded a medal by the Holy Roman Emperor for his efforts.

Cesar van Everdingen, who was sometimes referred to as one of the Haarlem Classicists or Haarlem Academics, repeatedly depicted courtesans playing musical instruments or combing their hair (see image left).

For him theory meant the strict adherence to rules.

The ultimate purpose of the visual arts was the improvement of mankind, and therefore art must, above all, be lofty and edifying.

The peasant brawls of Van Ostade (see image below) or Adriaan Brouwer were condemned out of hand both for their coarse subject matter and for the "worse than nature" manner in which they were depicted while the quite, middle-class assemblies of Van Mieris or Vermeer would have been considered depicted "as in nature," and, therefore, lacking the nobility of the "antique." Nonetheless, de Lairesse judged the (burger-like) subject matter far more acceptable than the "beggars, brothels, taverns, smokers, gamblers, filthy children on the potty-chair, and even dirtier and more horrible things," but still inferior to the Classical subject matter. Differently from other writers on Classical painting, de Lairesse dedicated an entire chapter "Aanwyzinge om het burgerlyke of cierlyke modern wel uit te beelden" ("Method for correctly representing what is city-like or elegant modern") in his Confronted by the formidable amount of paintings in the Netherlands of exceptional facture (and popularity) whose subject matter had nothing to do with his lofty ideals, de Lairesse felt that some sort of allowance must be made for the plethora of tastes and did not reject all of them categorically: "As the genius of artists differs greatly; one leading to the sublime, another to the common, even to the meanest; so we find ourselves obliged to treat of all parts of the art, in order to be useful to every one, " for it is …

more commendable to be like a good Mieris [Frans van Mieris, Vermeer's contemporary] in the modern manner, than a bad Raphael in the antique." Johannes Vermeer c. Metropolitan Museum of Art, New York This work is one of Vermeer's most finely balanced works, cleansed of all anecdote and distracting detail.

they are only to be esteemed as diversions of art…I moreover maintain, that such painters as never produce more than one choice of subject, may truly be ranked among tradesmen; since such representations cannot be called an exercise of the mind, but a handicraft trade."During a journey through the Netherlands in I781, Sir Joshua Reynolds paid a visit to the art collection of a certain Mr Gart in Amsterdam, owner, among others, of Gerrit ter Borch's [see detail of this painting above left], which he had recently seen in the Hope Collection, also in Amsterdam: Two fine pictures of Terburgh; the white sattin remarkebly well painted.

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