Martinus Alewijn (1634-84). Son of Abraham Alewijn and Geertruid Hooftman

Martinus Alewijn, son of Abraham Alewijn and Geertruid Hooftman, appears as the subject of a 1644 portrait by Dirck van Santvoort, recorded in the Rijksmuseum collection and owned by Dirk Margarethus Alewijn. The work is catalogued as a portrait genre painting on canvas with oil paint, measuring 124 cm in height and 91 cm in width. It has been discussed in scholarly contexts as representative of 17th-century Dutch portraiture within the broader family networks of Amsterdam’s elite.

The painting’s provenance and attributes have been documented in museum records and referenced in studies of Alewijn family history and Dutch Golden Age portraiture.

The portrait was owned by Dirk Margarethus Alewijn and entered the Rijksmuseum collection, where it remained on display as of 2023, ensuring continued public access to the work. Its provenance highlights the Alewijn family’s stewardship of the painting across generations, reinforcing Martinus Alewijn’s historical visibility within Dutch portraiture. The artwork’s preservation and exhibition underscore its significance as a representative example of 17th-century Dutch portraiture, contributing to scholarly understanding of family lineage and artistic patronage during the period.

The painting’s inclusion in a major national museum has facilitated ongoing study of Dirck van Santvoort’s technique and the broader context of portraiture in the Dutch Golden Age, supporting academic discussions of artistic lineage and cultural heritage.

Dirck van Santvoort’s oil portrait, executed in 1644, presents a young Martinus Alewijn, son of Abraham Alewijn and Geertruid Hooftman. The work is part of the Rijksmuseum’s collection and exemplifies mid‑seventeenth‑century Dutch portraiture, focusing on a solitary figure set against a muted, forested backdrop.

The sitter, a boy in a red, gold‑trimmed tunic, holds a staff while a black dog rests at his side, his left hand resting on the animal’s back. A sheep appears behind him, suggesting a pastoral role or an idealized representation of youthful vigor and responsibility within a rural setting.