Between Rembrandt and Vermeer there was Gerard ter Borch, 1617-1681, the Dutch Master who captured intimate moments of everyday life with elegance and grace. The Detroit Institute of Arts (DIA) will present the stunning exhibition “Gerard ter Borch” February 27 through May 22.

This is the first presentation in North America exclusively of works by Ter Borch, one of the finest genre and portrait painters of the Seventeenth Century. “Gerard ter Borch” is comprised of 46 of his best masterpieces that have been brought together from 29 private and public collections including the National Gallery in London and the Rijksmuseum, Amsterdam, along with two pieces from the DIA’s renowned Seventeenth Century Dutch collection. The DIA will be the only other US venue for Gerard ter Borch after its successful run at the National Gallery in Washington, D.C. This exhibition was organized by the American Federation of Arts, New York, and the National Gallery of Art, Washington. D.C.

“Many of Gerard ter Borch’s paintings depict in a painstakingly realist technique, social and psychological interactions among the well-to-do of Seventeenth Century Holland. While some scenes seem immediately decipherable, the precise meaning of others has eluded scholars and connoisseurs for the best part of three centuries,” said Graham W.J. Beal, DIA director.

Ter Borch’s paintings are varied, and the selection in this exhibition represents each phase of his career: early paintings of the 1630s, his midcareer genre pieces and his portraits, distinctive for their attention to fabric detail. Among more than 20 striking genre paintings in the exhibition, one of ter Borch’s most refined and provocative masterpieces is the DIA’s “Lady at Her Toilette,” which features a lavishly dressed young woman, possibly preparing herself for a formal event. Ter Borch interwove symbolism into each element of the piece: the mirror is associated with transience; the snuffed out candles imply love’s passing; and the colors of her gown, blue and white, signify jealousy and purity. As a result, a painting that seems to be simple in nature, is thought to convey a woman who is feeling the anxieties of love.

By the 1640s, ter Borch’s reputation as an exceptional portraitist grew, resulting in commissions from upper-class Dutch citizens. His piece “Helena van der Schalcke” is considered one of the Seventeenth Century’s most memorable images of childhood. The 2-year-old Helena is dressed in a white bodice and skirt, with a lace-trimmed apron, and a cap covering her head. In her right hand, she holds a carnation, which was commonly associated with images of the Virgin and Child. This painting has frequently been interpreted as a symbol of divine love, resurrection and hope of eternal innocence.

Later ter Borch focused on more simple subjects as seen in paintings such as “A Maid Milking a Cow in a Barn” and “The Grinder’s Family.” These paintings have a sympathetic quality, providing intimate insight into interactions of everyday life.

Ter Borch was born into a well-to-do family of artists and was initially trained by his father. He quickly gained notoriety and eventually studied with reputed artists in many cities in the Netherlands and around Europe. Ter Borch’s earliest works depict military life, but his status as a master of Seventeenth Century Dutch painting grew from his acclaimed representations of poignant genre scenes, which followed common themes of letter writing, encounters between men and women, and family interactions. Ter Borch had the unique ability to insinuate psychological responses of lost love, purity and jealousy through his impeccably detailed gestures, glances and expressions. The nature of what is actually transpiring in these paintings remains a mystery forever unsolved. This intimate psychological study set ter Borch apart from many of his comparable contemporaries, such as Johannes Vermeer.

Finally settling in Deventer, The Netherlands, to paint society portraits, ter Borch married a wealthy widow and joined the ranks of the city’s ruling elite until he died at age 64.

The exhibition includes a 240-page exhibition catalog, and includes full-color reproductions and entries for each of the paintings in the exhibition. Arthur K. Wheelock Jr, National Gallery of Art’s curator of northern baroque painting and curator of this exhibition, wrote the majority of the entries, with contributions from ter Borch expert Alison McNeil Kettering, professor of art history at Carleton College, Northfield, Minn.; Marjorie E. Wieseman, Cincinnati Art Museum curator of European painting and sculpture, and Arie Wallert, curator at the Rijksmuseum, Amsterdam.

DIA is at 5200 Woodward Avenue. For information, 313-833-7900 or www.dia.org.