and others, had not made the voyage. Many Dutch (and Flemish) painters worked abroad or exported their work; printmaking was also an important export market, by which Rembrandt became known across Europe. The Dutch Gift to Charles II of England was a diplomatic gift which included four contemporary Dutch paintings. English painting was heavily reliant on Dutch painters, with Sir Peter Lely followed by Sir Godfrey Kneller, developing the English portrait style established by the Flemish Anthony van Dyck before the English Civil War. The marine painters van der Velde, father and son, were among several artists who left Holland at the French invasion of 1672, which brought a collapse in the art market. They also moved to London, and the beginnings of English landscape painting were established by several less distinguished Dutch painters, such as Hendrick Danckerts. The Bamboccianti were a colony of Dutch artists who introduced the genre scene to Italy. Jan Weenix and Melchior d'Hondecoeter specialized in game and birds, dead or alive, and were in demand for country house and shooting-lodge overdoors across Northern Europe. Although the Dutch control of the northeast sugar-producing region of Dutch Brazil turned out to be brief (1630-54), Governor Johan Maurits van Nassau-Siegen invited Dutch artists to paint scenes which are valuable in showing the seventeenth-century landscape and peoples of the region. The two most well known of these artists were Frans Post, a landscapist, and a still life painter, Albert Eckhout, who produced ethnographic paintings of Brazil's population. These were originally displayed in the Great Hall of the Vrijburg Palace in Recife. There was a market in Amsterdam for such paintings, and Post continued to produce Brazilian scenes for years after his return to the Netherlands. The Dutch East Indies were covered much less well artistically. Subsequent reputation The enormous success of 17th-century Dutch painting overpowered the work of subsequent generations, and no Dutch painter of the 18th century—nor, arguably, a 19th-century one before Van Gogh—is well known outside the Netherlands. Already by the end of the period artists were complaining that buyers were more interested in dead than living artists. If only because of the enormous quantities produced, Dutch Golden Age painting has always formed a significant part of collections of Old Master paintings, itself a term invented in the 18th century to describe Dutch Golden Age artists. Taking only Wouwerman paintings in old royal collections, there are more