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Portrait of Maria de la Queillerie (1629-64), first Wife of Jan van Riebeeck, or his... c.1660. Creator: Unknown

Portrait of Maria de la Queillerie (1629-64), first Wife of Jan van Riebeeck, or his... c.1660. Creator: Unknown


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Portrait of Maria de la Queillerie (1629-64), first Wife of Jan van Riebeeck, or his... c.1660. Creator: Unknown

Portrait of Maria de la Queillerie (1629-64), first Wife of Jan van Riebeeck, or his second Wife Maria Scipio (c.1630-95), c.1660

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Media ID 36321668

© Heritage Art/Heritage Images

Cape Of Good Hope South Africa Dutch East India Company Hand Held Handheld Hands Folded Huguenot Protestant Protestantism Settler Settlers United East India Company Vereenigde Oostindische Compagnie Wives Jan Van Riebeeck Posture


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> Europe > Netherlands > Posters

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> Historic > Colonial history > Colonial art and artists

> Historic > Colonial history


EDITORS COMMENTS
This evocative portrait captures Maria de la Queillerie (1629-64), the first wife of Jan van Riebeeck, the Dutch colonial leader who established a settlement at the Cape of Good Hope in South Africa in 1652. The painting, believed to have been created around 1660, showcases Maria's elegant and refined attire, reflecting the fusion of Dutch and French influences prevalent during that period. Her high-necked, long-sleeved dress, adorned with intricate lace collars and cuffs, is a testament to the opulence and sophistication of the colonial elite. The fan in her hand adds a touch of elegance and grace to her posture. Maria's direct gaze and hands folded in her lap convey a sense of calm and composure, while her dark, expressive eyes engage the viewer, inviting a deeper connection with her story. As a Huguenot from France, Maria's Protestant faith was an integral part of her identity, and her strong Christian beliefs would have played a significant role in the early history of the Dutch Reformed Church in South Africa. This oil on canvas painting, now housed in the Rijksmuseum in Amsterdam, offers a glimpse into the lives of early European settlers and the complex cultural interplay that shaped the colonial landscape of the Cape of Good Hope. The portrait also serves as a poignant reminder of the enduring legacy of the Dutch East India Company and its far-reaching impact on South African history.

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