portrait painter. Willem's son, Frans van Mieris the Younger (1689–1763), was a pupil of his father. He worked as a genre painter and writer, and was considered a distinguished antiquary, who published works of merit on numismatics and history. Such a family background in art, good relationships with wealthy collectors and patrons, and apprenticeships with successful 17th-century masters seems to have made the choice of profession easier in families such as the Van Mierises. Willem, Jan, and Frans II, all direct descendants of the famous seventeenth century fine painter Frans I van Mieris, were bound for prestigious positions in the city, resulting in steady income from the commissions from affluent citizens. Artistic career Style and influences The fijnschilders, whose activity was mainly concentrated in Leiden, included many of the most popular painters of the time, such as Gerard Dou and Willem's father: needless to say, the latter had a decisive influence in shaping young Willem's style. In fact, Frans van Mieris was among the most famous Dutch painters of the late 17th century, his popularity crossing the Netherlands' border time and again: he was highly esteemed by both Cosimo III de' Medici, Grand Duke of Tuscany and Archduke Leopold of Palatinate, who was to become Emperor Leopold I. His paintings are mostly elegant genre scenes, but they show us the main features of the conception of painting: even in scenes representing trivial subjects, the Leiden painters strove for absolute perfection in rendering details and refining features in order to achieve absolute elegance. Willem van Mieris, having been introduced to, and trained in, painting by his father, could not but be heavily influenced by the ideas, ultimately becoming a member of the second generation of Leiden fine painters. However, Willem van Mieris soon parted ways with Frans when it came to subject matter. In fact, although he still focused on genre painting, his works usually depict scenes taken from the life of the upper class, and even when the protagonists belong to the low spheres of the society, they look much more elegant and refined than their real-life counterparts. This is mainly due to the influence exerted on Willem van Mieris by Gerard de Lairesse, whose Groot Schilderboek, published in 1707, marked the transition from the 17th to the 18th century in Dutch art. In his extensive treatise, de Lairesse stated that the aim of genre painters should no longer be