NEW YORK, NY.- Sometimes, past and present seem to echo each other in unexpected ways. Lawrence Steigrad Fine Arts originally chose to highlight this painting in honor of an exhibition celebrating Artus Quellinus I, one of the greatest Northern Baroque sculptors, opening this week in Amsterdam. However, as the gallery looked deeper, the story that emerged wasn’t just about a brilliant artist—it became a reflection on identity, history, and nationalism.

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Artus Quellinus was the leading sculptor of his time in the Dutch Republic. He was especially known for his monumental contribution to the building now known as the Royal Palace on the Dam, inaugurated as Amsterdam’s new town hall in 1655. From his large studio on the Keizersgracht, Quellinus worked on the building’s elaborate sculptural program for fifteen years, proudly holding the title Sculptor of Amsterdam. He became one of the key artistic voices of the Dutch 17th century.

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Fast forward nearly two centuries later, in 1830, when Belgium declared independence from the Netherlands. This political split was more than just territorial—it also fractured a shared cultural and social history. In the aftermath, the Dutch experienced what could only be described as a national identity crisis. Artists and intellectuals responded by turning to the 17th century for reassurance, revisiting a period of national greatness to rekindle pride and unity.

Among these artists was Reinier Craeyvanger, who specialized in historical and genre scenes that celebrated Dutch heritage. Among his chosen subjects was none other than Artus Quellinus. At first glance, this may not seem surprising, however Quellinus was from Antwerp. Why, at a moment of national reflection, would Craeyvanger focus on someone born in what was now Belgium- the country that had just split off?

The answer lies in legacy. Despite his origins, Quellinus had become central to the Dutch story. His sculptures for the Amsterdam Town Hall weren’t just decorative—they expressed the ideals the Dutch held dear: justice, civic virtue, prosperity. In the 19th-century mindset, cultural nationalism was shaped more by shared history than by strict borders. Quellinus had been woven into the Dutch narrative—an adopted figure who helped define the republic’s visual identity.

In this way, Craeyvanger’s painting reflects a broader effort to reconnect with a proud past. By revisiting Golden Age figures—regardless of where they were born—19th-century artists helped redefine what it meant to be Dutch in a moment of cultural and political change. That Quellinus was an “outsider” only adds a twist of irony: an immigrant from a now-separate nation had come to symbolize the very ideals that 19th-century Dutch nationalism sought to uphold.

In moments of uncertainty, we often look to the past to understand who we are. Through this painting, and the story behind it, we’re reminded that national identity isn’t always about lines on a map—it’s about the legacies we choose to carry forward and the people who created them, no matter their nationality.