At home at Ter Borch in Zwolle
Last chance at Museum de Fundatie in Zwolle for 1 February 2026 the exhibition 'At Home with Ter Borch'. The exhibition, in collaboration with the Rijksmuseum, tells for the first time the story of the workings of the 'studio' of the Ter Borch family of artists from Zwolle and the exchange of artistic inspiration between the family members: father Gerard and his children Gerard, Gesina, Harmen, Anna, and Moses. More than 70 works on paper and 35 paintings – sourced from museums and private collections in the Netherlands, Europe, and the United States – are coming to Zwolle especially for this exhibition. Many works have never before been shown together in a single exhibition.
Rediscovered paintings
For *At Home with Ter Borch*, the National Gallery of Art and the Rijksmuseum are lending two rediscovered works for the first time, which were recently acquired by these museums (in 23 and 24, respectively). From Amsterdam comes a posthumous portrait by Gesina ter Borch of her brother Moses (1645-1667) as a two-year-old child (c. 1667). It is Gesina's only signed painting. Washington is lending Moses ter Borch Holding a Club (c. 1655). This panel is attributed to a collaboration between Gesina and Gerard de Jonge.
Marjorie E. Wieseman, curator of the exhibition and curator and head of the Department of Northern European Painting at The National Gallery of Art (Washington): 'The Ter Borch family collaborated intensively, copied from one another, and learned from one another. Due to the exceptional fact that Gesina ter Borch carefully preserved the extensive family archive, including drawings and sketches, the visitor to the exhibition in 2025 gains a unique insight into the collaboration between the various family members.'
Learning from and with each other
The exhibition's theme, 'Learning from Each Other,' is visible throughout the exhibition. Both Gerard (1617-1681) and Gesina (1631-1690) drew a woman in a horse-drawn sleigh. They both did so in 1656, with Gesina later (1658) placing the sleigh within a larger scene. Gesina's drawing from '56 is a clear copy of her brother's work – a beautiful example of how the family members inspired and encouraged one another. It is the first time these drawings have been shown together.
Horse from behind
A notable exercise within the family was drawing a horse from behind, with a rider. Gerard started early: as a seven-year-old in 1625, he made a first sketch, which he later developed into two paintings. Years later, brothers Harmen (1638-1677) and Moses (1645-1667) also put their own versions on paper in 1648 and 1660 respectively, revealing a fascinating trail of growing artistic skill.
Promising talent
Moses Ter Borch, the youngest son, displayed great talent with his drawings of standing and seated figures—including a sailor and a shepherd. Sadly, he chose a military career and was killed at the young age of 22 during the Second Anglo-Dutch War. His art lives on in five remarkable drawings now on display, loans from collections in Amsterdam, Paris, Dresden, and Berlin.
Münster fashion
In 1647/48, Gerard was in Münster to paint the copper panel *The Swearing in of the Treaty* by the Spanish and Dutch Negotiators. This treaty was the Peace of Münster, which brought an end to the Eighty Years' War. On the street, Gerard saw women wearing a headdress that was entirely unknown in his own country: a kind of large, square hood. Gesina and Anna (1622-1679) must have been very surprised at home by this striking regional costume, and they both copied Gerard's drawing. A fine example of how international influences were shared and processed through family members.
The letter writer (1655)
Ter Borch's oeuvre consists largely of intimate depictions of people absorbed in their activities. This letter writer is the first in a whole series and served as an example for other painters, such as Vermeer. The woman is seated at a table and has pushed aside the precious Oriental carpet. Beside her stands a softly gleaming pewter inkwell. The action in the painting is minimal – we are left to fill in for ourselves what the woman is thinking and writing.
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