document_title: Dutch Golden Age painting

question_text: genre scenes were popular in the netherlands for their

question_tokens: genre scenes were popular in the netherlands for their

text: Dutch Golden Age painting

text: Types of painting[edit]

text: A distinctive feature of the period, compared to earlier European painting, was the small amount of religious painting. Dutch Calvinism forbade religious painting in churches, and though biblical subjects were acceptable in private homes, relatively few were produced. The other traditional classes of history and portrait painting were present, but the period is more notable for a huge variety of other genres, sub-divided into numerous specialized categories, such as scenes of peasant life, landscapes, townscapes, landscapes with animals, maritime paintings, flower paintings and still lifes of various types. The development of many of these types of painting was decisively influenced by 17th-century Dutch artists.

text: The widely held theory of the "hierarchy of genres" in painting, whereby some types were regarded as more prestigious than others, led many painters to want to produce history painting. However this was the hardest to sell, as even Rembrandt found. Many were forced to produce portraits or genre scenes, which sold much more easily. In descending order of status the categories in the hierarchy were:

text:
history painting, including allegories and popular religious subjects.
Portrait painting, including the tronie
genre painting or scenes of everyday life
landscape, including seascapes, battlescenes, cityscapes, and ruins (landscapists were the "common footmen in the Army of Art" according to Samuel van Hoogstraten.[3])
still life

text: The Dutch concentrated heavily on the "lower" categories, but by no means rejected the concept of the hierarchy.[4] Most paintings were relatively small – the only common type of really large paintings were group portraits. Painting directly onto walls hardly existed; when a wall-space in a public building needed decorating fitted framed canvas was normally used. For the extra precision possible on a hard surface many painters continued to use wooden panels, some time after the rest of Western Europe had abandoned them; some used copper plates, usually recycling plates from printmaking. In turn the number of surviving Golden Age paintings was reduced by them being overpainted with new works by artists throughout the 18th and 19th century – poor ones were usually cheaper than a new canvas, stretcher and frame.

text: There was very little Dutch sculpture during the period; it is mostly found in tomb monuments and attached to public buildings, and small sculptures for houses are a noticeable gap, their place taken by silverware and ceramics. Painted delftware tiles were very cheap and common, if rarely of really high quality, but silver, especially in the auricular style, led Europe. With this exception, the best artistic efforts were concentrated on painting and printmaking.

text: The art world[edit]

text: Foreigners remarked on the enormous quantities of art produced, and the large fairs where many paintings were sold – it has been roughly estimated that over 1.3 million Dutch pictures were painted in the 20 years after 1640 alone.[5] The volume of production meant that prices were fairly low, except for the best known artists; as in most subsequent periods there was a steep price gradient for more fashionable artists.[6] Those without a strong contemporary reputation, or who had fallen out of fashion, including many now considered among the greatest of the period, such as Vermeer, Frans Hals and Rembrandt in his last years, had considerable problems earning a living, and died poor; many artists had other jobs, or abandoned art entirely.[7] In particular the French invasion of 1672 (the Rampjaar, or "year of disaster"), brought a severe depression to the art market, which never quite returned to earlier heights.[8]

text: The distribution of pictures was very wide: "yea many tymes, blacksmithes, cobblers etts., will have some picture or other by their Forge and in their stalle. Such is the generall Notion, enclination and delight that these Countrie Native have to Painting" reported an English traveller in 1640.[9] There were for virtually the first time many professional art dealers, several also significant artists, like Vermeer and his father, Jan van Goyen and Willem Kalf. Rembrandt's dealer Hendrick van Uylenburgh and his son Gerrit were among the most important. Landscapes were the easiest uncommissioned works to sell, and their painters were the "common footmen in the Army of Art" according to Samuel van Hoogstraten[10]

text: The technical quality of Dutch artists was generally very high, still mostly following the old medieval system of training by apprenticeship with a master. Typically workshops were smaller than in Flanders or Italy, with only one or two apprentices at a time, the number often being restricted by guild regulations. The turmoil of the early years of the Republic, with displaced artists from the South moving north and the loss of traditional markets in the court and church, led to a resurgence of artists guilds, often still called the Guild of Saint Luke. In many cases these involved the artists extricating themselves from medieval groupings where they shared a guild with several other trades, such as housepainting. Several new guilds were established in the period: Amsterdam in 1579, Haarlem in 1590, and Gouda, Rotterdam, Utrecht and Delft between 1609 and 1611.[11] The Leiden authorities distrusted guilds and did not allow one until 1648.[12]

text: Later in the century it began to become clear to all involved that the old idea of a guild controlling both training and sales no long worked well, and gradually the guilds were replaced with academies, often only concerned with the training of artists. The Hague, with the court, was an early example, where artists split into two groups in 1656 with the founding of the Confrerie Pictura. With the obvious exception of portraits, many more Dutch paintings were done "speculatively" without a specific commission than was then the case in other countries – one of many ways in which the Dutch art market showed the future.[13]

text: There were many dynasties of artists, and many married the daughters of their masters or other artists. Many artists came from well-off families, who paid fees for their apprenticeships, and they often married into property. Rembrandt and Jan Steen were both enrolled at the University of Leiden for a while. Several cities had distinct styles and specialities by subject, but Amsterdam was the largest artistic centre, because of its great wealth.[14] Cities such as Haarlem and Utrecht were more important in the first half of the century, with Leiden and other cities emerging after 1648, and above all Amsterdam, which increasingly drew to it artists from the rest of the Netherlands, as well as Flanders and Germany.[15]

text: Dutch artists were strikingly less concerned about artistic theory than those of many nations, and less given to discussing their art; it appears that there was also much less interest in artistic theory in general intellectual circles and among the wider public than was by then common in Italy.[16] As nearly all commissions and sales were private, and between bourgeois individuals whose accounts have not been preserved, these are also less well documented than elsewhere. But Dutch art was a source of national pride, and the major biographers are crucial sources of information. These are Karel van Mander (Het Schilderboeck, 1604), who essentially covers the previous century, and Arnold Houbraken (De groote schouburgh der Nederlantsche konstschilders en schilderessen – "The Great Theatre of Dutch Painters", 1718–21). Both followed, and indeed exceeded, Vasari in including a great number of short lives of artists – over 500 in Houbraken's case – and both are considered generally accurate on factual matters.

text: The German artist Joachim von Sandrart (1606–1688) had worked for periods in Holland, and his Deutsche Akademie in the same format covers many Dutch artists he knew. Houbraken's master, and Rembrandt's pupil, was Samuel van Hoogstraten (1627–1678), whose Zichtbare wereld and Inleyding tot de Hooge Schoole der Schilderkonst (1678) contain more critical than biographical information, and are among the most important treatises on painting of the period. Like other Dutch works on the theory of art, they expound many commonplaces of Renaissance theory and do not entirely reflect contemporary Dutch art, still often concentrating on history painting.[17]

text: History painting[edit]

text: This category comprises not only paintings that depicted historical events of the past, but also paintings that showed biblical, mythological, literary and allegorical scenes. Recent historical events essentially fell out of the category, and were treated in a realist fashion, as the appropriate combination of portraits with marine, townscape or landscape subjects.[18] Large dramatic historical or Biblical scenes were produced less frequently than in other countries, as there was no local market for church art, and few large aristocratic Baroque houses to fill. More than that, the Protestant population of major cities had been exposed to some remarkably hypocritical uses of Mannerist allegory in unsuccessful Habsburg propaganda during the Dutch Revolt, which had produced a strong reaction towards realism and a distrust of grandiose visual rhetoric.[19] History painting was now a "minority art", although to an extent this was redressed by a relatively keen interest in print versions of history subjects[20]

text: More than in other types of painting, Dutch history painters continued to be influenced by Italian painting. Prints and copies of Italian masterpieces circulated and suggested certain compositional schemes. The growing Dutch skill in the depiction of light was brought to bear on styles derived from Italy, notably that of Caravaggio. Some Dutch painters also travelled to Italy, though this was less common than with their Flemish contemporaries, as can be seen from the membership of the Bentvueghels club in Rome.[13]

text: In the early part of the century many Northern Mannerist artists with styles formed in the previous century continued to work, until the 1630s in the cases of Abraham Bloemaert and Joachim Wtewael.[21] Many history paintings were small in scale, with the German painter (based in Rome) Adam Elsheimer as much an influence as Caravaggio (both died in 1610) on Dutch painters like Pieter Lastman, Rembrandt's master, and Jan and Jacob Pynas. Compared to Baroque history painting from other countries, they shared the Dutch emphasis on realism, and narrative directness, and are sometimes known as the "Pre-Rembrandtists", as Rembrandt's early paintings were in this style.[22]

text: Utrecht Caravaggism describes a group of artists who produced both history painting and generally large genre scenes in an Italian-influenced style, often making heavy use of chiaroscuro. Utrecht, before the revolt the most important city in the new Dutch territory, was an unusual Dutch city, still about 40% Catholic in the mid-century, even more among the elite groups, who included many rural nobility and gentry with town houses there.[23] The leading artists were Hendrick ter Brugghen, Gerard van Honthorst and Dirck van Baburen, and the school was active about 1630, although van Honthorst continued until the 1650s as a successful court painter to the English, Dutch and Danish courts in a more classical style.[24]

text: Rembrandt began as a history painter before finding financial success as a portraitist, and he never relinquished his ambitions in this area. A great number of his etchings are of narrative religious scenes, and the story of his last history commission, The Conspiracy of Claudius Civilis (1661) illustrates both his commitment to the form and the difficulties he had in finding an audience.[25] Several artists, many his pupils, attempted with some success to continue his very personal style; Govaert Flinck was the most successful. Gerard de Lairesse (1640–1711) was another of these, before falling under heavy influence from French classicism, and becoming its leading Dutch proponent as both artist and theoretician.[26]

text: Nudity was effectively the preserve of the history painter, although many portraitists dressed up their occasional nudes (nearly always female) with a classical title, as Rembrandt did. For all their uninhibited suggestiveness, genre painters rarely revealed more than a generous cleavage or stretch of thigh, usually when painting prostitutes or "Italian" peasants.

text: Portraits[edit]

text: Portrait painting thrived in the Netherlands in the 17th century, as there was a large mercantile class who were far more ready to commission portraits than their equivalents in other countries; a summary of various estimates of total production arrives at between 750,000 and 1,100,000 portraits.[28] Rembrandt enjoyed his greatest period of financial success as a young Amsterdam portraitist, but like other artists, grew rather bored with painting commissioned portraits of burghers: "artists travel along this road without delight", according to van Mander.[29]

text: While Dutch portrait painting avoids the swagger and excessive rhetoric of the aristocratic Baroque portraiture current in the rest of 17th-century Europe, the sombre clothing of male and in many cases female sitters, and the Calvinist feeling that the inclusion of props, possessions or views of land in the background would show the sin of pride leads to an undeniable sameness in many Dutch portraits, for all their technical quality. Even a standing pose is usually avoided, as a full-length might also show pride. Poses are undemonstrative, especially for women, though children may be allowed more freedom. The classic moment for having a portrait painted was upon marriage, when the new husband and wife more often than not occupied separate frames in a pair of paintings. Rembrandt's later portraits compel by force of characterization, and sometimes a narrative element, but even his early portraits can be dispiriting en masse, as in the roomful of 'starter Rembrandts' donated to the Metropolitan Museum of Art in New York.

text: The other great portraitist of the period is Frans Hals, whose famously lively brushwork and ability to show sitters looking relaxed and cheerful adds excitement to even the most unpromising subjects. The extremely "nonchalant pose" of his portrait of Willem Heythuijsen is exceptional: "no other portrait from this period is so informal".[30] The sitter was a wealthy textile merchant who had already commissioned Hals' only individual life-sized full-length portrait ten years before. In this much smaller work for a private chamber he wears riding clothes.[31] Jan de Bray encouraged his sitters to pose costumed as figures from classical history, but many of his works are of his own family. Thomas de Keyser, Bartholomeus van der Helst, Ferdinand Bol and others, including many mentioned below as history or genre painters, did their best to enliven more conventional works. Portraiture, less affected by fashion than other types of painting, remained the safe fallback for Dutch artists.

text: From what little we know of the studio procedures of artists, it seems that, as elsewhere in Europe, the face was probably drawn and perhaps painted at an initial sitting or two. The typical number of further sittings is unclear - between zero (for a Rembrandt full-length) and 50 appear documented. The clothes were left at the studio and might well be painted by assistants, or a bought in specialist master, although, or because, they were regarded as a very important part of the painting.[32] Married and never-married women can be distinguished by their dress, highlighting how few single women were painted, except in family groups.[33] As elsewhere, the accuracy of the clothes shown is variable - striped and patterned clothes were worn, but artists rarely show them, understandably avoiding the extra work.[34] Lace and ruff collars were unavoidable, and presented a formidable challenge to painters intent on realism. Rembrandt evolved a more effective way of painting patterned lace, laying in broad white stokes, and then painting lightly in black to show the pattern. Another way of doing this was to paint in white over a black layer, and scratch off the white with the end of the brush to show the pattern.[35]

text: At the end of the century there was a fashion for showing sitters in a semi-fancy dress, begun in England by van Dyck in the 1630s, known as "picturesque" or "Roman" dress.[36] Aristocratic, and militia, sitters allowed themselves more freedom in bright dress and expansive settings than burghers, and religious affiliations probably affected many depictions. By the end of the century aristocratic, or French, values were spreading among the burghers, and depictions were allowed more freedom and display.

text: A distinctive type of painting, combining elements of the portrait, history, and genre painting was the tronie. This was usually a half-length of a single figure which concentrated on capturing an unusual mood or expression. The actual identity of the model was not supposed to be important, but they might represent a historical figure and be in exotic or historic costume. Jan Lievens and Rembrandt, many of whose self-portraits are also tronies (especially his etched ones), were among those who developed the genre.

text: Family portraits tended, as in Flanders, to be set outdoors in gardens, but without an extensive view as later in England, and to be relatively informal in dress and mood. Group portraits, largely a Dutch invention, were popular among the large numbers of civic associations that were a notable part of Dutch life, such as the officers of a city's schutterij or militia guards, boards of trustees and regents of guilds and charitable foundations and the like. Especially in the first half of the century, portraits were very formal and stiff in composition. Groups were often seated around a table, each person looking at the viewer. Much attention was paid to fine details in clothing, and where applicable, to furniture and other signs of a person's position in society. Later in the century groups became livelier and colours brighter. Rembrandt's Syndics of the Drapers' Guild is a subtle treatment of a group round a table.

text: Scientists often posed with instruments and objects of their study around them. Physicians sometimes posed together around a cadaver, a so-called 'Anatomical Lesson', the most famous one being Rembrandt's Anatomy Lesson of Dr. Nicolaes Tulp (1632, Mauritshuis, The Hague). Boards of trustees in their regentenstuk portraits preferred an image of austerity and humility, posing in dark clothing (which by its refinement testified to their prominent standing in society), often seated around a table, with solemn expressions on their faces.

text: Most militia group portraits were commissioned in Haarlem and Amsterdam, and were much more flamboyant and relaxed or even boisterous than other types of portraits, as well as much larger. Early examples showed them dining, but later groups showed most figures standing for a more dynamic composition. Rembrandt's famous The Militia Company of Captain Frans Banning Cocq better known as the Night Watch (1642), was an ambitious and not entirely successful attempt to show a group in action, setting out for a patrol or parade, also innovative in avoiding the typical very wide format of such works.

text: The cost of group portraits was usually shared by the subjects, often not equally. The amount paid might determine each person's place in the picture, either head to toe in full regalia in the foreground or face only in the back of the group. Sometimes all group members paid an equal sum, which was likely to lead to quarrels when some members gained a more prominent place in the picture than others. In Amsterdam most of these paintings would ultimately end up in the possession of the city council, and many are now on display in the Amsterdams Historisch Museum; there are no significant examples outside the Netherlands.

text: Scenes of everyday life[edit]

text: Genre paintings show scenes that prominently feature figures to whom no specific identity can be attached – they are not portraits or intended as historical figures. Together with landscape painting, the development and enormous popularity of genre painting is the most distinctive feature of Dutch painting in this period, although in this case they were also very popular in Flemish painting. Many are single figures, like the Vermeer's The Milkmaid; others may show large groups at some social occasion, or crowds. There were a large number of sub-types within the genre: single figures, peasant families, tavern scenes, "merry company" parties, women at work about the house, scenes of village or town festivities (though these were still more common in Flemish painting), market scenes, barracks scenes, scenes with horses or farm animals, in snow, by moonlight, and many more. In fact most of these had specific terms in Dutch, but there was no overall Dutch term equivalent to "genre painting" – until the late 18th century the English often called them "drolleries".[38] Some artists worked mostly within one of these sub-types, especially after about 1625.[39] Over the course of the century, genre paintings tended to reduce in size.

text: Though genre paintings provide many insights into the daily life of 17th-century citizens of all classes, their accuracy cannot always be taken for granted.[40] Many which seemed only to depict everyday scenes actually illustrated Dutch proverbs and sayings or conveyed a moralistic message – the meaning of which may now need to be deciphered by art historians, though some are clear enough. Many artists, and no doubt purchasers, certainly tried to have things both ways, enjoying the depiction of disorderly households or brothel scenes, while providing a moral interpretation – the works of Jan Steen, whose other profession was as an innkeeper, are an example. The balance between these elements is still debated by art historians today.[41]

text: The titles given later to paintings often distinguish between "taverns" or "inns" and "brothels", but in practice these were very often the same establishments, as many taverns had rooms above or behind set aside for sexual purposes: "Inn in front; brothel behind" was a Dutch proverb.[42]

text: The Steen above is very clearly an exemplum, and though each of the individual components of it is realistically depicted, the overall scene is not a plausible depiction of a real moment; typically of genre painting, it is a situation that is depicted, and satirized.[43]

text: The Renaissance tradition of recondite emblem books had, in the hands of the 17th-century Dutch – almost universally literate in the vernacular, but mostly without education in the classics – turned into the popularist and highly moralistic works of Jacob Cats, Roemer Visscher, and others, often based in popular proverbs. The illustrations to these are often quoted directly in paintings, and since the start of the 20th century art historians have attached proverbs, sayings and mottoes to a great number of genre works. Another popular source of meaning is visual puns using the great number of Dutch slang terms in the sexual area: the vagina could be represented by a lute (luit) or stocking (kous), and sex by a bird (vogelen), among many other options,[44] and purely visual symbols such as shoes, spouts, and jugs and flagons on their side.

text: The same painters often painted works in a very different spirit of housewives or other women at rest in the home or at work – they massively outnumber similar treatments of men. In fact working class men going about their jobs are notably absent from Dutch Golden Age art, with landscapes populated by travellers and idlers but rarely tillers of the soil.[45] Despite the Dutch Republic being the most important nation in international trade in Europe, and the abundance of marine paintings, scenes of dock workers and other commercial activities are very rare.[46] This group of subjects was a Dutch invention, reflecting the cultural preoccupations of the age,[47] and was to be adopted by artists from other countries, especially France, in the two centuries following.

text: The tradition developed from the realism and detailed background activity of Early Netherlandish painting, which Hieronymus Bosch and Pieter Bruegel the Elder were among the first to turn into their principal subjects, also making use of proverbs. The Haarlem painters Willem Pieterszoon Buytewech, Frans Hals and Esaias van de Velde were important painters early in the period. Buytewech painted "merry companies" of finely dressed young people, with moralistic significance lurking in the detail.

text: Van de Velde was also important as a landscapist, whose scenes included unglamorous figures very different from those in his genre paintings, which were typically set at garden parties in country houses. Hals was principally a portraitist, but also painted genre figures of a portrait size early in his career.[49]

text: A stay in Haarlem by the Flemish master of peasant tavern scenes Adriaen Brouwer, from 1625 or 1626, gave Adriaen van Ostade his lifelong subject, though he often took a more sentimental approach. Before Brouwer, peasants had normally been depicted outdoors; he usually shows them in a plain and dim interior, though van Ostade's sometimes occupy ostentatiously decrepit farmhouses of enormous size.[50]

text: Van Ostade was as likely to paint a single figure as a group, as were the Utrecht Caravaggisti in their genre works, and the single figure, or small groups of two or three became increasingly common, especially those including women and children. The most notable woman artist of the period, Judith Leyster (1609–1660), specialized in these, before her husband, Jan Miense Molenaer, prevailed on her to give up painting. The Leiden school of fijnschilder ("fine painters") were renowned for small and highly finished paintings, many of this type. Leading artists included Gerard Dou, Gabriel Metsu, Frans van Mieris the Elder, and later his son Willem van Mieris, Godfried Schalcken, and Adriaen van der Werff.

text: This later generation, whose work now seems over-refined compared to their predecessors, also painted portraits and histories, and were the most highly regarded and rewarded Dutch painters by the end of the period, whose works were sought after all over Europe.[51] Genre paintings reflected the increasing prosperity of Dutch society, and settings grew steadily more comfortable, opulent and carefully depicted as the century progressed. Artists not part of the Leiden group whose common subjects also were more intimate genre groups included Nicolaes Maes, Gerard ter Borch and Pieter de Hooch, whose interest in light in interior scenes was shared with Jan Vermeer, long a very obscure figure, but now the most highly regarded genre painter of all.

text:
The mute Hendrick Avercamp painted almost exclusively winter scenes of crowds seen from some distance.

Pieter de Hooch, Courtyard of a House in Delft, 1658, a study in domestic virtue, texture and spatial complexity. The woman is a servant.[52]

Judith Leyster, A Boy and a Girl with a Cat and an Eel; various references to proverbs or emblems have been suggested.[53]

Nicolaes Maes, The idle servant; housemaid troubles were the subject of several of Maes' works.[54]

text: Landscapes and cityscapes[edit]

text: Landscape painting was a major genre in the 17th century. Flemish landscapes (particularly from Antwerp) of the 16th century first served as an example. These had been not particularly realistic, having been painted mostly in the studio, partly from imagination, and often still using the semi-aerial view from above typical of earlier Netherlandish landscape painting in the "world landscape" tradition of Joachim Patinir, Herri met de Bles and the early Pieter Bruegel the Elder. A more realistic Dutch landscape style developed, seen from ground level, often based on drawings made outdoors, with lower horizons which made it possible to emphasize the often impressive cloud formations that were (and are) so typical in the climate of the region, and which cast a particular light. Favourite subjects were the dunes along the western sea coast, rivers with their broad adjoining meadows where cattle grazed, often with the silhouette of a city in the distance. Winter landscapes with frozen canals and creeks also abounded. The sea was a favourite topic as well since the Low Countries depended on it for trade, battled with it for new land, and battled on it with competing nations.

text: Important early figures in the move to realism were Esaias van de Velde (1587–1630) and Hendrick Avercamp (1585–1634), both also mentioned above as genre painters – in Avercamp's case the same paintings deserve mention in each category. From the late 1620s the "tonal phase" of landscape painting started, as artists softened or blurred their outlines, and concentrated on an atmospheric effect, with great prominence given to the sky, and human figures usually either absent or small and distant. Compositions based on a diagonal across the picture space became popular, and water often featured. The leading artists were Jan van Goyen (1596–1656), Salomon van Ruysdael (1602–1670), Pieter de Molyn (1595–1661), and in marine painting Simon de Vlieger (1601–1653), with a host of minor figures – a recent study lists over 75 artists who worked in van Goyen's manner for at least a period, including Cuyp.[55]

text: From the 1650s the "classical phase" began, retaining the atmospheric quality, but with more expressive compositions and stronger contrasts of light and colour. Compositions are often anchored by a single "heroic tree", windmill or tower, or ship in marine works.[56] The leading artist was Jacob van Ruisdael (1628–1682), who produced a great quantity and variety of work, using every typical Dutch subject except the Italianate landscape (below); instead he produced "Nordic" landscapes of dark and dramatic mountain pine forests with rushing torrents and waterfalls.[57]

text: His pupil was Meindert Hobbema (1638–1709), best known for his atypical Avenue at Middelharnis (1689, London), a departure from his usual scenes of watermills and roads through woods. Two other artists with more personal styles, whose best work included larger pictures (up to a metre or more across), were Aelbert Cuyp (1620–1691) and Philips Koninck (1619–1688). Cuyp took golden Italian light and used it in evening scenes with a group of figures in the foreground and behind them a river and wide landscape. Koninck's best works are panoramic views, as from a hill, over wide flat farmlands, with a huge sky.

text: A different type of landscape, produced throughout the tonal and classical phases, was the romantic Italianate landscape, typically in more mountainous settings than are found in the Netherlands, with golden light, and sometimes picturesque Mediterranean staffage and ruins. Not all the artists who specialized in these had visited Italy. Jan Both (d. 1652), who had been to Rome and worked with Claude Lorrain, was a leading developer of the subgenre, which influenced the work of many painters of landscapes with Dutch settings, such as Aelbert Cuyp. Other artists who consistently worked in the style were Nicolaes Berchem (1620–1683) and Adam Pijnacker. Italianate landscapes were popular as prints, and more paintings by Berchem were reproduced in engravings during the period itself than those of any other artist.[58]

text: A number of other artists do not fit in any of these groups, above all Rembrandt, whose relatively few painted landscapes show various influences, including some from Hercules Seghers (c. 1589–c. 1638); his very rare large mountain valley landscapes were a very personal development of 16th-century styles.[59] Aert van der Neer (d. 1677) painted very small scenes of rivers at night or under ice and snow.

text: Landscapes with animals in the foreground were a distinct sub-type, and were painted by Cuyp, Paulus Potter (1625–1654), Albert Jansz. Klomp (1625-1688), Adriaen van de Velde (1636–1672) and Karel Dujardin (1626–1678, farm animals), with Philips Wouwerman painting horses and riders in various settings. The cow was a symbol of prosperity to the Dutch, hitherto overlooked in art, and apart from the horse by far the most commonly shown animal; goats were used to indicate Italy. Potter's The Young Bull is an enormous and famous portrait which Napoleon took to Paris (it later returned) though livestock analysts have noted from the depiction of the various parts of the anatomy that it appears to be a composite of studies of six different animals of widely different ages.

text: Architecture also fascinated the Dutch, churches in particular. At the start of the period the main tradition was of fanciful palaces and city views of invented Northern Mannerist architecture, which Flemish painting continued to develop, and in Holland was represented by Dirck van Delen. A greater realism began to appear and the exteriors and interiors of actual buildings were reproduced, though not always faithfully. During the century understanding of the proper rendering of perspective grew and were enthusiastically applied. Several artists specialized in church interiors.

text: Pieter Jansz Saenredam, whose father Jan Saenredam engraved sensuous nude Mannerist goddesses, painted unpeopled views of now whitewashed Gothic city churches. His emphasis on even light and geometry, with little depiction of surface textures, is brought out by comparing his works with those of Emanuel de Witte, who left in the people, uneven floors, contrasts of light and such clutter of church furniture as remained in Calvinist churches, all usually ignored by Saenredam. Gerard Houckgeest, followed by van Witte and Hendrick van Vliet, had supplemented the traditional view along a main axis of the church with diagonal views that added drama and interest.[60]

text: Gerrit Berckheyde specialized in lightly populated views of main city streets, squares, and major public buildings; Jan van der Heyden preferred more intimate scenes of quieter Amsterdam streets, often with trees and canals. These were real views, but he did not hesitate to adjust them for compositional effect.[61]

text:
Jacob van Ruisdael, View of Haarlem; Ruisdael is a central figure, with more varied subjects than many landscapists.

Jan Both, c. 1650, Italian landscape of the type Both began to paint after his return from Rome.

Jan van Goyen, Dune landscape; an example of the "tonal" style

The Grote Markt and Sint-Bavokerk, Haarlem, 1696, by Gerrit Berckheyde.

text: Maritime painting[edit]

text: The Dutch Republic relied on trade by sea for its exceptional wealth, had naval wars with Britain and other nations during the period, and was criss-crossed by rivers and canals. It is therefore no surprise that the genre of maritime painting was enormously popular, and taken to new heights in the period by Dutch artists; as with landscapes, the move from the artificial elevated view typical of earlier marine painting was a crucial step.[62] Pictures of sea battles told the stories of a Dutch navy at the peak of its glory, though today it is usually the more tranquil scenes that are highly estimated. Ships are normally at sea, and dock scenes surprisingly absent.[63]

text: More often than not, even small ships fly the Dutch tricolour, and many vessels can be identified as naval or one of the many other government ships. Many pictures included some land, with a beach or harbour viewpoint, or a view across an estuary. Other artists specialized in river scenes, from the small pictures of Salomon van Ruysdael with little boats and reed-banks to the large Italianate landscapes of Aelbert Cuyp, where the sun is usually setting over a wide river. The genre naturally shares much with landscape painting, and in developing the depiction of the sky the two went together; many landscape artists also painted beach and river scenes. Artists included Jan Porcellis, Simon de Vlieger, Jan van de Cappelle, Hendrick Dubbels and Abraham Storck. Willem van de Velde the Elder and his son are the leading masters of the later decades, tending, as at the beginning of the century, to make the ship the subject, whereas in tonal works of earlier decades the emphasis had been on the sea and the weather. They left for London in 1672, leaving the master of heavy seas, the German-born Ludolf Bakhuizen, as the leading artist.[64]

text: Still lifes[edit]

text: Still lifes were a great opportunity to display skill in painting textures and surfaces in great detail and with realistic light effects. Food of all kinds laid out on a table, silver cutlery, intricate patterns and subtle folds in table cloths and flowers all challenged painters.

text: Several types of subject were recognised: banketje were "banquet pieces", ontbijtjes simpler "breakfast pieces".[65] Virtually all still lifes had a moralistic message, usually concerning the brevity of life – this is known as the vanitas theme – implicit even in the absence of an obvious symbol like a skull, or less obvious one such as a half-peeled lemon (like life, sweet in appearance but bitter to taste).[66] Flowers wilt and food decays, and silver is of no use to the soul. Nevertheless, the force of this message seems less powerful in the more elaborate pieces of the second half of the century.

text: Initially the objects shown were nearly always mundane. However, from the mid-century pronkstillevens ("ostentatious still lifes"), which depicted expensive and exotic objects and had been developed as a subgenre in the 1640s in Antwerp by Flemish artists such as Frans Snyders and Adriaen van Utrecht, became more popular.[67] The early realist, tonal and classical phases of landscape painting had counterparts in still life painting.[68] Willem Claeszoon Heda (1595–c. 1680) and Willem Kalf (1619–1693) led the change to the pronkstilleven, while Pieter Claesz (d. 1660) preferred to paint simpler "ontbijt" ("breakfast pieces"), or explicit vanitas pieces.

text: In all these painters, colours are often very muted, with browns dominating, especially in the middle of the century. This is less true of the works of Jan Davidsz de Heem (1606–1684), an important figure who spent much of his career based over the border in Antwerp. Here his displays began to sprawl sideways to form wide oblong pictures, unusual in the north, although Heda sometimes painted taller vertical compositions. Still life painters were especially prone to form dynasties, it seems: there were many de Heems and Bosschaerts, Heda's son continued in his father's style, and Claesz was the father of Nicholaes Berchem.

text: Flower paintings formed a sub-group with its own specialists, and were occasionally the speciality of the few women artists, such as Maria van Oosterwyck and Rachel Ruysch.[69] The Dutch also led the world in botanical and other scientific drawings, prints and book illustrations. Despite the intense realism of individual flowers, paintings were composed from individual studies or even book illustrations, and blooms from very different seasons were routinely included in the same composition, and the same flowers reappear in different works, just as pieces of tableware do. There was also a fundamental unreality in that bouquets of flowers in vases were not in fact at all common in houses at the time – even the very rich displayed flowers one by one in delftware tulip-holders.[70]

text: The Dutch tradition was largely begun by Ambrosius Bosschaert (1573–1621), a Flemish-born flower painter who had settled in the north by the beginning of the period, and founded a dynasty. His brother-in-law Balthasar van der Ast (d. 1657) pioneered still lifes of shells, as well as painting flowers. These early works were relatively brightly lit, with the bouquets of flowers arranged in a relatively simple way. From the mid-century arrangements that can fairly be called Baroque, usually against a dark background, became more popular, exemplified by the works of Willem van Aelst (1627–1683). Painters from Leiden, The Hague, and Amsterdam particularly excelled in the genre.

text: Dead game, and birds painted live but studied from the dead, were another subgenre, as were dead fish, a staple of the Dutch diet – Abraham van Beijeren did many of these.[71] The Dutch were less given to the Flemish style of combining large still life elements with other types of painting – they would have been considered prideful in portraits – and the Flemish habit of specialist painters collaborating on the different elements in the same work. But this sometimes did happen – Philips Wouwerman was occasionally used to add men and horses to turn a landscape into a hunting or skirmish scene, Berchem or Adriaen van de Velde to add people or farm animals.

text:
Willem van Aelst, Still life with a watch (c. 1665), with typical dark background.

Willem Claeszoon Heda, Breakfast Table with Blackberry Pie (1631); Heda was famous for his depiction of reflective surfaces.

Jan Davidszoon de Heem, Vanitas (1629)

Jan Weenix, Still Life with a Dead Peacock (1692), set in the gardens of a large country house.

text: Foreign lands[edit]

text: For Dutch artists, Karel van Mander's Schilderboeck was meant not only as a list of biographies, but also a source of advice for young artists. It quickly became a classic standard work for generations of young Dutch and Flemish artists in the 17th century. The book advised artists to travel and see the sights of Florence and Rome, and after 1604 many did so. However, it is noticeable that the most important Dutch artists in all fields, figures such as Rembrandt, Vermeer, Hals, Steen, Jacob van Ruisdael, and others, did not make the voyage.[13]

text: 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.

text: 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.

text: 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.[72] 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.[73] There was a market in Amsterdam for such paintings,[74] 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.

text:
Landscape with sugar mill, Frans Post

Landscape with a worker's house, Frans Post

Brazilian Indian warrior, Albert Eckhout

Bananas, goiaba, and other fruits, Albert Eckhout

text: Subsequent reputation[edit]

text: 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.

text: 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 than 60 in Dresden and over 50 in the Hermitage.[75] But the reputation of the period has shown many changes and shifts of emphasis. One nearly constant factor has been admiration for Rembrandt, especially since the Romantic period. Other artists have shown drastic shifts in critical fortune and market price; at the end of the period some of the active Leiden fijnschilders had enormous reputations, but since the mid-19th century realist works in various genres have been far more appreciated.[76]

text: Vermeer was rescued from near-total obscurity in the 19th century, by which time several of his works had been re-attributed to others. However the fact that so many of his works were already in major collections, often attributed to other artists, demonstrates that the quality of individual paintings was recognised even if his collective oeuvre was unknown.[77] Other artists have continued to be rescued from the mass of little known painters: the late and very simple still lifes of Adriaen Coorte in the 1950s,[78] and the landscapists Jacobus Mancaden and Frans Post earlier in the century.[79]

text: Genre paintings were long popular, but little-regarded. In 1780 Horace Walpole disapproved that they "invite laughter to divert itself with the nastiest indelicacy of boors".[80] Sir Joshua Reynolds, the English leader of 18th-century academic art, made several revealing comments on Dutch art. He was impressed by the quality of Vermeer's Milkmaid (illustrated at the start of this article), and the liveliness of Hals' portraits, regretting he lacked the "patience" to finish them properly, and lamented that Steen had not been born in Italy and formed by the High Renaissance, so that his talent could have been put to better use.[81] By Reynold's time the moralist aspect of genre painting was no longer understood, even in the Netherlands; the famous example is the so-called Paternal Admonition, as it was then known, by Gerard ter Borch. This was praised by Goethe and others for the delicacy of its depiction of a father reprimanding his daughter. In fact to most (but not all) modern scholars it is a proposition scene in a brothel – there are two versions (Berlin & Amsterdam) and it is unclear whether a "tell-tale coin" in the man's hand has been removed or overpainted in either.[82]

text: In the second half of the 18th century, the down to earth realism of Dutch painting was a "Whig taste" in England, and in France associated with Enlightenment rationalism and aspirations for political reform.[83] In the 19th century, with a near-universal respect for realism, and the final decline of the hierarchy of genres, contemporary painters began to borrow from genre painters both their realism and their use of objects for narrative purposes, and paint similar subjects themselves, with all the genres the Dutch had pioneered appearing on far larger canvases (still lifes excepted).

text: In landscape painting, the Italianate artists were the most influential and highly regarded in the 18th century, but John Constable was among those Romantics who denounced them for artificiality, preferring the tonal and classical artists.[58] In fact both groups remained influential and popular in the 19th century.


document_title: List of Riverdale episodes

question_text: when does episode 1 season 3 of riverdale come out

root

text: List of Riverdale episodes

text: Series overview[edit]

text: SeasonEpisodesOriginally airedNielsen ratingsFirst airedLast airedRankAverage viewers(in millions inc. DVR)113January 26, 2017 (2017-01-26)May 11, 2017 (2017-05-11)1541.69[2]222October 11, 2017 (2017-10-11)May 16, 2018 (2018-05-16)1732.11[3]3TBAOctober 10, 2018 (2018-10-10)[1]TBATBATBA

tag: table

text: Episodes[edit]

text: Season 1 (2017)[edit]

text:
No.overallNo. inseasonTitleDirected byWritten byOriginal air dateProd.codeUS viewers(millions)11"Chapter One: The River's Edge"Lee Toland KriegerRoberto Aguirre-SacasaJanuary 26, 2017 (2017-01-26)T15.101361.38[4]
During an eventful summer, including the supposed drowning of quarterback Jason Blossom on the Fourth of July, Archie Andrews discovers his passion for music. He soon begins his sophomore year and expresses his love for music to Betty Cooper, the sweet girl-next-door who harbors her own secret—her feelings for Archie. Meanwhile, Veronica Lodge, the daughter of Hermione and Hiram, a millionaire facing embezzlement charges, arrives in town, instantly capturing Archie's attention. Despite the fact that a love triangle is developing, Betty and Veronica become fast friends, united when Veronica stands up against the condescending captain of the cheerleading squad, Cheryl Blossom, who may be hiding a secret concerning her brother's death. Archie's former best friend, Jughead Jones, begins to write a novel retelling the events of the summer, including what happened between him and Archie. Kevin Keller and Moose Mason stumble across Jason's body, which has a gunshot wound to the head, by the lake.
22"Chapter Two: A Touch of Evil"Lee Toland KriegerRoberto Aguirre-SacasaFebruary 2, 2017 (2017-02-02)T13.203021.15[5]
Veronica's kiss with Archie strains his relationship with both girls, while Miss Grundy insists that he not reveal that the two of them heard the gunshot that may have killed Jason since it would also expose their secret affair. Kevin, disturbed by the discovery of Jason's body, refuses to acknowledge Moose's affections for him. Jughead, after accidentally discovering Archie and Grundy holding hands, deduces their secret and confronts Archie for refusing to go to the sheriff, Kevin's father. Archie asks his father, Fred, for advice and decides to come clean. Cheryl strikes up a friendship with Betty, but it soon ends when it becomes clear that she blames Betty's sister, Polly, for Jason's death. At a pep rally in his honor, Cheryl runs away after hallucinating Jason on the field; in the locker room, where Veronica has followed to comfort her, Cheryl admits to her that Jason was supposed to "come back." Against the wishes of her mother, Alice, Betty renews her friendship with both Archie and Veronica, while Archie also reconciles with Jughead. The next day, during science class, Cheryl is arrested due to evidence from Jason's autopsy, which revealed that he was actually murdered a week after the Fourth of July.
33"Chapter Three: Body Double"Lee Toland KriegerYolonda E. LawrenceFebruary 9, 2017 (2017-02-09)T13.203031.20[6]
Cheryl admits to Sheriff Keller and her parents, Clifford and Penelope, that Jason wanted to run away and she helped him fake his drowning. Betty, upset with how Alice is attacking the Blossom family in the press, restarts the school newspaper, The Blue and Gold, and sends Jughead to interview the Adventure Scouts who found Cheryl at Sweet Water River just after Jason died. Veronica is enraged to learn that Chuck Clayton, whom she had one date with, has been slut shaming her to the rest of the school and, when he refuses to stop, she, Betty, and Cheryl find evidence linking him and his friends, including Jason, to the shaming. Jughead learns from one of the Scouts that the shot heard on the Fourth of July was fired by the troop's Scoutmaster, Dilton Doiley, during a training exercise. Betty and Veronica drug and torture Chuck until he apologizes and Jughead pressures Dilton to come clean. Fred builds a grounded Archie a studio in which to practice, Chuck is kicked off the football team, and Betty and Cheryl burn the evidence together. Dilton reveals that he saw Miss Grundy's car by the river and Jughead realizes Archie's secret is at risk.
44"Chapter Four: The Last Picture Show"Mark PiznarskiMichael GrassiFebruary 16, 2017 (2017-02-16)T13.203041.14[7]
Jughead despairs over the news that the local drive-in where he works is closing. At the diner, Betty spots Archie and Fred having dinner with Miss Grundy and she confronts him about their relationship. Under the guise of an interview, Betty questions Miss Grundy about her life, while Veronica demands answers from Hermione upon learning she was speaking to a gangbanger; Hermione insists that nothing shady happened. Betty and Veronica meet with Archie and inform him that there is no trace of Geraldine Grundy ever existing aside from a woman who died seven years ago. They break into her car and find a gun and ID with the name "Jennifer Gibson." Grundy reveals that she only wanted to escape from an abusive relationship. At the drive-in's final night, Veronica spots Hermione meeting with the same man from before. Alice exposes Archie's affair and threatens to put Grundy on trial, but agrees to stand down as long as she leaves town. Sheriff Keller finds that all of his evidence pertaining to Jason's murder has been stolen. Jughead vandalizes the projectionist's booth before leaving his temporary home in full view of the gang leader, who turns out to be his father.
55"Chapter Five: Heart of Darkness"Jesse WarnRoss MaxwellFebruary 23, 2017 (2017-02-23)T13.203050.98[8]
Angry at Cheryl for helping Jason run away, Clifford and Penelope refuse to allow her to speak at Jason's memorial, but Cheryl does so anyway, ultimately breaking down during her speech while wearing the white dress she had on the day he left. Coach Clayton pits Archie and Reggie Mantle against each other for the coveted spot of team captain. Archie is introduced to a potential songwriting mentor, who ultimately decides not to teach him. Trev informs Betty that Jason had become much more secretive in the weeks before his death and was rumored to be selling drugs. Jughead suggests searching the Blossom family mansion for clues during the memorial dinner. He and Betty encounter Jason's grandmother, Rose, who mistakes Betty for Polly and reveals that she and Jason were engaged. While cleaning the diner, Hermione finds a box with a snake inside it, a warning from the Serpents. Betty learns that her family has hated the Blossoms ever since their ancestor killed great-grandfather Cooper decades before. Archie is named captain, but turns it down to focus on his music. Jughead and Betty deduce that her father, Hal, is responsible for stealing the sheriff's evidence.
66"Chapter Six: Faster, Pussycats! Kill! Kill!"Steven A. AdelsonTessa Leigh Williams & Nicholas ZwartMarch 2, 2017 (2017-03-02)T13.203061.09[9]
With Riverdale High's annual variety show approaching, Valerie's efforts to help Archie prepare for his debut performance lead to a major fallout with Josie. Meanwhile, Betty and Jughead's investigation into Jason's murder brings them face-to-face with Betty's sister Polly, who is revealed to be captive at a home for troubled youth, unaware of Jason's death and seven months pregnant. As Veronica decides to rebuild her relationship with her mother, she learns that Hermione is using her for her own purposes. At the same time, Hermione's first day of work at Andrews Construction brings her closer to Fred. Josie deals with her own family pressures after her father visits for her performance at the variety show. Betty confronts Hal and Alice about Jason's death to no avail, but grows closer to Jughead, eventually kissing him. After, they discover a car hidden in the woods containing drugs and Jason's belongings. However, an unknown perpetrator torches the car and destroys all the evidence before the police arrive, around the same time that Polly escapes from the home.
77"Chapter Seven: In a Lonely Place"Allison AndersAaron AllenMarch 9, 2017 (2017-03-09)T13.203071.03[10]
Cheryl informs Sheriff Keller that Polly has escaped and the town organizes a search party to find her, which fails. As tensions continue to grow between the Blossoms and the Coopers, Betty finds her sister hiding in the attic of their house. Cheryl offers to help Betty take care of Polly. F.P., after being offered a job by Fred, reveals that he and Fred founded Andrews Construction together, but Fred kicked him out of the business after bailing him out of jail. Fred counters that F.P. was stealing money from him while abusing drugs and alcohol and that he had no choice. Jughead is taken into custody as a suspect in Jason's murder, but Fred provides Keller with an alibi. Cheryl suspects that her parents have bad intentions with Polly, so Polly moves in with the Lodges instead. F.P. is revealed to have Jason's jacket in his trailer.
88"Chapter Eight: The Outsiders"David KatzenbergJulia CohenMarch 30, 2017 (2017-03-30)T13.203080.99[11]
Polly reveals to Sheriff Keller that Jason was supposed to make a drug delivery for "some biker gang", implied to be the Southside Serpents, in exchange for money before both of them ran away. Veronica suggests hosting a baby shower for Polly. Fred's workers leave because of promised work from Clifford. Archie tries to help Fred by getting some friends to work on the construction project, but Moose is attacked after witnessing someone vandalize the machinery and warned they should stop.  After a confrontation with F.P. Jones in the Serpents' bar, Archie realizes Jughead's father is a Serpent. At the baby shower, Penelope and Alice argue over with whom Polly should live. Alice learns that Hal threatened Polly with an abortion, and when he refuses to let her come back, Alice kicks him out of the Cooper household. F.P. recruits some of his Serpents to replace Fred's crew and informs Hermione that Hiram was behind the attack on Fred's construction site. Polly chooses to live with the Blossoms.
99"Chapter Nine: La Grande Illusion"Lee RoseJames DeWilleApril 6, 2017 (2017-04-06)T13.203090.91[12]
As the Blossom family's annual maple tree-tapping ceremony approaches, Cheryl asks Archie to be her escort. When he refuses, Penelope offers to get him into an exclusive music school as a favor. Veronica grows close to Ethel but, when Hermione reveals that her father was one of Hiram's investors, she becomes distraught upon learning that he attempted suicide due to his financial hardship. Alice prepares to publish a full-blown exposé on the Blossoms, but Hal fires her from the paper as retaliation for being kicked out of the house. Betty gets a call from Archie, learning that Polly moved in with the Blossoms to uncover the truth about Jason's death. She and Jughead decide to write the tell-all exposé in The Blue and Gold and ask Alice to join them. Finally realizing that the Blossoms are using him, Archie attempts to reconcile with Val, but she breaks up with him.
1010"Chapter Ten: The Lost Weekend"Dawn WilkinsonBritta Lundin & Brian E. PatersonApril 13, 2017 (2017-04-13)T13.203100.87[13]
Fred leaves for Chicago to finalize his divorce, leaving Archie alone. Betty learns that Jughead's birthday is coming up and that he has never had an actual party. She and Veronica persuade Archie to let them throw it at his house. Hiram threatens retaliation against Hermione if Veronica refuses to testify on his behalf. The Vixens elect Veronica as captain over Cheryl, who retaliates by crashing the party with Chuck and his friends. F.P. also shows up after Betty's insistence. Jughead argues with Betty and tries to leave, but Cheryl forces him to stay for a "game" in which participants are forced to reveal their secrets. Jughead and Chuck get into a fight and F.P. declares the party over. He urges his son to reconcile with Betty and confronts Alice, implying she was once a member of the Serpents. Archie and Veronica comfort each other and share a kiss. Veronica agrees to testify on Hiram's behalf. To Archie's surprise, his father returns home with his mother, Mary.
1111"Chapter Eleven: To Riverdale and Back Again"Kevin SullivanRoberto Aguirre-SacasaApril 27, 2017 (2017-04-27)T13.203110.89[14]
While Archie and his mother reconnect, Veronica learns that Hiram may soon be released from prison. F.P. questions the purpose of Jughead's novel, urging him to consider moving on. To learn the truth about Hiram, Veronica decides to investigate F.P. as a possible suspect in Jason's murder. The Blossoms, increasingly suspicious of Polly, forbid her from entering their master bedroom. Fred and Mary agree to attend homecoming together. Polly and Cheryl discover the former's engagement ring in Penelope's jewelry collection, which she claims is because Jason threw it away in disgust after arguing with Clifford. At a contentious dinner, Alice tries to question F.P., but he shuts her down. Afterwards, he informs Jughead that they will be moving to Toledo to reunite with the rest of the Jones family. While Archie and Veronica perform "Kids in America" at homecoming, the police execute a search warrant on F.P.'s trailer, find a gun, and arrest him for murder. Jughead disappears and Archie and Veronica deduce that someone is framing F.P. for Jason's death.
1212"Chapter Twelve: Anatomy of a Murder"Rob SeidenglanzMichael GrassiMay 4, 2017 (2017-05-04)T13.203120.98[15]
Jughead calls his mother, but she refuses to let him move in with her. F.P. confesses to everything, including Jason's murder. Betty and Alice catch Hal trying to destroy evidence and learn the family secret: the Coopers are, in fact, Blossoms by blood, making Jason and Polly's relationship technically incest. The Coopers take Polly back to their home. Mary, posing as F.P.'s lawyer, advises Jughead to visit his father, who tells him never to come see him again. With Joaquin's help, the group tracks down one of F.P.'s associates, but finds him dead of an apparent overdose. The police are summoned and find a bag full of money with Hermione's initials on it. With both Hal and Hermione cleared as suspects, Jughead and Betty investigate a lead from Kevin and find Jason's varsity jacket. Inside one of the pockets, they find a thumb drive and discover Clifford murdered Jason, which they tell Cheryl. Nevertheless, Jughead learns that his father's other charges will not be dropped. Veronica learns that Hiram has been released and is coming to Riverdale and Mary returns to Chicago. When the police go to arrest Clifford, they discover he has hanged himself in the syrup distillery.
1313"Chapter Thirteen: The Sweet Hereafter"Lee Toland KriegerRoberto Aguirre-SacasaMay 11, 2017 (2017-05-11)T13.203130.96[16]
It is revealed that Clifford was in the drug business and Jason found out. Clifford killed Jason to stop him from exposing the family business. F.P. is cleared of all charges relating to the murder, but remains in police custody. Alice reveals to Betty that, in high school, she found out she was pregnant, but Hal sent her to the Sisters of Silent Mercy and made her give up the child, a baby boy, for adoption. Jughead is placed in the care of a foster family and transfers to Southside High. Devastated by her father's secrets and suicide, Cheryl attempts to drown herself in Sweetwater River, but Archie, along with Veronica, Betty, and Jughead, saves her. Cheryl later burns down the Thornhill mansion, much to Penelope's dismay. The next day, Archie meets Fred at Pop's, where a masked gunman arrives and demands Pop turn over his money. He then tells Fred to turn over his wallet at gunpoint. When Archie tries to intervene, the gunman shoots Fred.

text: Season 2 (2017–18)[edit]

text:
No.overallNo. inseasonTitleDirected byWritten byOriginal air dateProd.codeUS viewers(millions)141"Chapter Fourteen: A Kiss Before Dying"Rob SeidenglanzRoberto Aguirre-SacasaOctober 11, 2017 (2017-10-11)T13.208012.34[17]
After being shot, Fred is rushed to the hospital by Archie, who is soon joined by his friends. Sheriff Keller gains a description of the shooter from Archie and calls him in for a lineup, but none of the men in the lineup are the shooter. When Veronica searches Fred's belongings, Archie sees that his wallet is missing. Betty and Jughead visit Pop's to look for the wallet but find nothing; instead, they learn from Pop that the shooter did not take any money from the register, meaning that it was actually a hit against Fred. Jughead asks the Southside Serpents to investigate the shooting, but to no avail. Veronica accuses Hermione of hiring a hitman to kill Fred, but she vehemently denies this and tensions develop between them when Veronica is not sure of her mother is telling the truth. Meanwhile, Cheryl intimidates Penelope—who suffers severe burns due to the fire at their mansion and is hospitalized—into lying that it was an accident. Fred survives his shooting. Hiram returns to Riverdale, further escalating the tensions in the Lodge family. In the nearby town of Greendale, Ms. Grundy is strangled to death by Fred's shooter.
152"Chapter Fifteen: Nighthawks"Allison AndersMichael GrassiOctober 18, 2017 (2017-10-18)T13.208021.76[18]
After learning of Ms. Grundy's murder, an increasingly anxious Archie suspects that her death is connected with Fred's shooting, which pushes him to get a gun from Dilton Doiley. Following the shooting, business at Pop's Chock'lit Shoppe has declined, leading Pop to consider selling the diner, but Betty convinces Pop to let her throw a retro fun night to drum up business. Jughead learns that F.P. is facing 20 years in prison and seeks help from Penny Peabody, a Serpent lawyer, who advises Jughead to ask the Blossoms to testify on F.P.'s behalf. Cheryl initially refuses, but relents when Betty extorts her with the video of Jason's murder. With Cheryl's testimony, the judge decides to revisit F.P's sentence. Hiram quietly buys the diner from Pop, but tells Veronica he made a "charitable donation". In the woods, Moose Mason and Midge Klump take some jingle jangle (a new drug to Riverdale), and as they do so, they are shot by Fred's shooter.
163"Chapter Sixteen: The Watcher in the Woods"Kevin SullivanRoss MaxwellOctober 25, 2017 (2017-10-25)T13.208031.62[19]
Kevin, who was in the forest, hears the gunshots and rushes to find Midge crying. Moose, who shielded Midge from the gunfire, is hospitalized and survives. Following the incident, Archie founds a vigilante group called the Red Circle, to protect Riverdale High students. The Coopers receive a letter from "the Black Hood", taking responsibility for the shootings and the murder of Ms. Grundy, and detailing his intentions to target sinners. Polly leaves town, fearing for her babies. Meanwhile, Jughead begins his tenure at Southside High, befriends Toni Topaz, a Serpent, and refounds the school newspaper, the Red and Black, under the advisory of English teacher Robert Philips. Kevin keeps going out late at night, which concerns Betty. Betty follows him on one of his runs, which leads to him lashing out at her. Hiram tells Archie that he should utilize the Black Hood's main weapons for the Red Circle. Inspired by this, the Red Circle makes a video calling out the Black Hood.
174"Chapter Seventeen: The Town That Dreaded Sundown"Jason StoneAmanda LasherNovember 1, 2017 (2017-11-01)T13.208041.51[20]
Archie's viral video results in negative repercussions, as Principal Waldo Weatherbee demands he disband the Red Circle. Though Archie refuses, the Red Circle disbands regardless due to the football team being suspended but later reassembles with Veronica's help. Archie runs into trouble when he vandalizes the Serpant's territory with Red Circle graffitti.Veronica finds out that Archie intends to murder the Black Hood and convinces him to discard his gun. Betty receives a letter from the Black Hood, revealing that her speech from the jubilee ball inspired his actions and gives her a cipher that only she could solve. Mayor Sierra McCoy (Josie's mother) hosts a town meeting to discuss action against the Black Hood, in which Alice blames the Serpents, but Fred argues against letting fear rule them. Betty and Jughead figure out that the Black Hood intends to attack town hall and have the meeting evacuated, before showing the letter to her parents, Sheriff Keller and Mayor McCoy. Later, Betty receives a call from the Black Hood.
185"Chapter Eighteen: When a Stranger Calls"Ellen PressmanAaron AllenNovember 8, 2017 (2017-11-08)T13.208051.47[21]
The Black Hood reveals to Betty that he knows where Polly is and threatens to kill her unless she publishes a mugshot of Alice, which she does. Hiram invites the St. Clair's, friends of the Lodges from New York. On the Southside, Jughead attempts to stop Sweet Pea and the Serpents from blowing up the Riverdale Register office and joins the gang to prevent this from happening. The Black Hood forces Betty to cut ties with Veronica and Jughead and later gives her a hood. At the Lodge's open house event, Nick St. Clair drugs Cheryl and takes her back to his hotel room to rape her, but is stopped and beaten by Veronica and the Pussycats. Jughead and Toni sit in his trailer, where he tells her his relationship with Betty is over; they kiss. Back at Betty's house, the Black Hood tells her she has broken the rules and he will now kill Polly unless she gives him the name of a "sinner" to kill, to which Betty names Nick St. Clair.
196"Chapter Nineteen: Death Proof"Maggie KileyTessa Leigh Williams & Arabella AndersonNovember 15, 2017 (2017-11-15)T13.208061.43[22]
The Black Hood challenges Betty to find the identity of The Sugarman, who has been supplying the jingle jangle to Riverdale. Cheryl wants to press charges against Nick, whom the Black Hood did not attack, but Penelope agrees not to in exchange for money from the St. Clair's. Archie goes to Southside High, where he saves Jughead from a raid organized by McCoy and Sheriff Keller. Tall Boy, F.P.'s right hand man, reaches an agreement with the Ghoulies, the dealers of jingle jangle. Jughead and Archie visit F.P., who tells Jughead to challenge the Ghoulies to a race. During the race, Archie pulls the brake on Jughead's car, and reveals he called Sheriff Keller, who arrests the Ghoulies leader. Veronica convinces Hiram and Hermione to stop investing with the St. Clair's, while Cheryl does the same with Penelope. Later, the Lodges receive a call that the St. Clair's have been run off the road, but will recover in months. Penelope reveals to Cheryl that the Sugarman is Robert Philips; Cheryl later tells Betty, who exposes him in the Blue and Gold. Philips is subsequently arrested and shot by the Black Hood in jail.
207"Chapter Twenty: Tales from the Darkside"Dawn WilkinsonJames DeWilleNovember 29, 2017 (2017-11-29)T13.208071.45[23]
After killing Phillips, the Black Hood leaves a letter at Pop's challenging Riverdale to go 48 hours without sinning, or he will kill again. Jughead is enlisted by Penny Peabody to deliver a crate of drugs to repay her for her earlier help, which he does with Archie. She says this is a one-time thing, but Jughead later finds she was lying. Josie begins to receive weird messages from a secret admirer, implied to be Cheryl, including a box with a pig's heart. Mayor McCoy reprimands her for coming home late, revealing she has received death threats. Betty, realizing that Phillips was killed in the sheriff's office, believes Sheriff Keller might be the Black Hood. She investigates, but Keller is able to provide proof that he is not the Black Hood. However, Betty and Veronica discover that he is having an affair with Mayor McCoy. Archie, Jughead, Betty, Veronica, Josie, and Cheryl all gather at Pop's. After Jughead leaves to visit F.P., the Black Hood calls Pop to inform him Riverdale failed his challenge, and Pop grimly announces that "The reckoning is upon us".
218"Chapter Twenty-One: House of the Devil"Kevin SullivanYolonda LawrenceDecember 6, 2017 (2017-12-06)T13.208081.48[24]
F.P. is released from jail and begins working at Pop's, intending to quit the Serpents. Jughead and Betty decide to throw F.P. a "retirement" party at the Whyte Worm, so they enlist Archie and Veronica to do the detective work. While Jughead reconnects with his dad, Betty goes to the Whyte Worm to organize the party. There, she meets Toni and tells her she wants to keep watch over Jughead. Archie and Veronica follow a lead on a past serial killer called the Riverdale Reaper, who murdered a family of four before being killed himself by a lynch mob. Their investigation leads them to discover there was a fifth member of the family, which they discover to be the school's janitor, Joseph Svenson. Archie and Veronica confront Svenson, but decide he isn't the Black Hood. At the party, F.P., who is upset that Jughead helped Peabody, decides to stay with the Serpents. Outside, Veronica breaks up with Archie following a discussion about love. Jughead, not wanting to bring Betty into the Serpents' business, also ends their relationship.
229"Chapter Twenty-Two: Silent Night, Deadly Night"Rob SeidenglanzShepard BoucherDecember 13, 2017 (2017-12-13)T13.208091.43[25]
Fred receives a hospital bill of $86,000. Failing to convince her parents to help Fred, Veronica sneaks into Hiram's study and finds out that he bought Pop's. She later convinces him and Hermione to stop hiding secrets from her and help Fred. Jughead rallies the younger Serpents, who kidnap Peabody and cut off her Serpent tattoo. Betty and Archie receive a box from the Black Hood, containing Svenson's severed finger. They then receive a call from the Black Hood, who challenges them to find Svenson. They are able to find Svenson's location, but instead find an empty coffin. The Black Hood then arrives and tries to force Betty into burying Archie alive, but flees when the police arrive. After a chase, Keller shoots and kills the Black Hood before he can escape. The Black Hood is then revealed to be Svenson himself. Later, with the Black Hood dead, Veronica and Archie get back together, while Betty throws away all of her findings surrounding Svenson, but she keeps the hood he gave her earlier.
2310"Chapter Twenty-Three: The Blackboard Jungle"Tim HunterBritta Lundin & Brian E. PatersonJanuary 17, 2018 (2018-01-17)T13.208101.44[26]
The Lodges strike a deal with Mayor McCoy for land which involves shutting down Southside High, causing Jughead, Toni, Sweet Pea and the other Serpents to transfer to Riverdale High, putting them at odds with other students. Archie is approached by FBI Agent Adams, who wants his help on finding proof of Hiram's criminal dealings. Archie agrees to help in exchange for immunity for Veronica and Fred. Archie investigates Nick, who implies that Hiram was behind his car crash, which broke both of his legs. Despite Hal's objections, Betty and Alice track down Alice's son she gave up for adoption, Chic. Chic initially refuses to come with them, but Betty returns to his residence and saves him from an assault, bringing him to the Cooper household. Jughead, following advice from F.P., gets his fellow Serpents to lay low. Archie reveals to Adams that he secretly doubts Svenson was really the Black Hood. That night, Chic lurks in Betty's room while she sleeps.
2411"Chapter Twenty-Four: The Wrestler"Gregg ArakiGreg Murray & Devon TurnerJanuary 24, 2018 (2018-01-24)T13.208111.39[27]
Pickens' Day, a day in remembrance of Riverdale's founder, nears. Archie tries out for the wrestling team in order to impress Hiram, a former wrestler. Betty learns that Chic is a webcam model, and attempts to reach out to him. Jughead interviews Toni's grandfather for a school project, learning that he is a member of a Native American tribe which was slaughtered by Pickens. Jughead publishes the story, escalting tensions with the two sides. At the Pickens' Day fest, the Serpents protest the event, but Hiram spins their words positively. That night, Archie meets with Hiram, who offers him his business tutelage, which Archie accepts. The next morning, Mayor McCoy, Sheriff Keller, and the Lodges meet at the statue of Pickens, which has been decapitated.
2512"Chapter Twenty-Five: The Wicked and the Divine"Rachel TalalayRoberto Aguirre-SacasaJanuary 31, 2018 (2018-01-31)T13.208121.34[28]
Veronica's confirmation nears, bringing many Lodge family members and business associates to Riverdale. While serving at a poker game with Hiram and his associates, Archie learns that Hiram is a mobster and his associates are planning his 'removal' after Veronica's confirmation. Archie alerts Hiram to this, and Hiram later arranges that mobster's death. Meanwhile, Mayor McCoy orchestrates the eviction of all Serpents from their trailer park. Jughead and Betty are alerted to the location of the Pickens head by a scrapyard owner, who gives them evidence that Tall Boy decapitated the statue. Jughead and F.P. put Tall Boy on trial, who reveals that Hiram assisted him launching a mutiny so that Tall Boy could remove F.P. and Jughead from the Serpents. Betty and Jughead get back together. A strange man comes to the Cooper house asking for Chic. Later, Betty returns home to find Alice cleaning up the man's blood.
2613"Chapter Twenty-Six: The Tell-Tale Heart"Julie PlecMichael GrassiFebruary 7, 2018 (2018-02-07)T13.208131.28[29]
Betty and Alice clean up the man's body and dispose of it with help from Jughead and F.P. Jughead sends the Pickens' statue head to the Lodges, which Hiram believes may be a declaration of war. Mayor McCoy attempts to take control of her deal with the Lodges, and the Lodges prepare to expose her affair with Sheriff Keller. Veronica, however, warns her of this, and McCoy resigns from office. Agent Adams attempts to strong-arm Archie into giving him the information, including blackmailing Archie in order for him to plant a bug in Hiram's office. Archie instead reveals this to Hiram. Hiram's driver takes Archie to a private location to meet with "the boss", revealed to be Hermione. Hermione tells Archie that Adams is actually one of the Lodges' capos and it was a test, which Archie has passed. Hermione welcomes him to the family.
2714"Chapter Twenty-Seven: The Hills Have Eyes"David KatzenbergRoss MaxwellMarch 7, 2018 (2018-03-07)T13.208141.26[30]
Hiram suggests Archie, Veronica, Betty, and Jughead go to the Lodge's lake house for a romantic getaway. Cheryl, upset over not being invited, calls Jughead and informs him of Betty's kiss with Archie, which causes tension within the group. Veronica and Jughead kiss to "level the playing field". Later, the girls go into town while the guys have a discussion over the close mutual bonds between the four. Back in Riverdale, Josie informs Kevin of their parents affair. Cheryl reveals to Toni that she had a "friendship-turned-lesbian-relationship" broken up by Penelope. At the lake house, tensions arise again when Jughead and Betty learn that Hiram bought the trailer park and the Riverdale Register. A group of men that Veronica interacted with in town break into the house, but Veronica activates a silent alarm. One of Hiram's men arrive and kills one of the intruders, and the four return to Riverdale.
2815"Chapter Twenty-Eight: There Will Be Blood"Mark PiznarskiAaron AllenMarch 14, 2018 (2018-03-14)T13.208151.19[31]
Jughead keeps investigating the Lodges' plans, but he cannot use what he finds. Hiram and Hermione want Fred to run for mayor, including financing his run. Hal asks Alice for a divorce, and Polly comes back to Riverdale. Clifford's secret will is read, which entitles money to anyone of Blossom's blood. Clifford's twin brother Claudius returns. When Chic refuses the DNA test, Betty steals his dental floss to do her own test and discovers that Chic is not who he says to be. After Smithers points Jughead to Shankshaw Prison, F.P.'s inside contact allows them to learn the truth about the Lodge's plans: they want to turn Southside High into a private prison and the housing Fred is building will be for the employees of the prison. After the Lodges are forced to tell Fred, he refuses to run for Mayor, so Hermione announces her run instead. Archie undergoes a blood ritual with Hiram, pledging loyalty. Meanwhile, Claudius and Penelope plot to get their house "in order", including Nana and Cheryl, who overhears the plan.
2916"Chapter Twenty-Nine: Primary Colors"Sherwin ShilatiJames DeWilleMarch 21, 2018 (2018-03-21)T13.208161.16[32]
Jughead learns Southside High will be turned into a prison, and goes on a hunger strike to protest. Hiram accelerates the timeline for demolition, but the high school Serpents chain themselves to the school. Fred attempts to end his contract with the Lodges, leading to a legal dispute. Hiram asks Archie to cut the Serpents' chains, which Archie does in exchange for Fred being released from his contract. Betty learns Chic's father is not Hal. Penelope and Claudius attempt to kill Nana Rose, but she survives. Veronica runs for student president, but everyone seems to be against her. Jughead also considers running with Betty. Betty moves in with Jughead to avoid Chic. Cheryl tells Penelope she knows what she did, leading Penelope to get Cheryl committed. Free of his contract with the Lodges, Fred announces he is running for mayor against Hermione.
3017"Chapter Thirty: The Noose Tightens"Alexis OstranderBritta Lundin & Brian E. PatersonMarch 28, 2018 (2018-03-28)T13.208170.96[33]
Hermione's run for mayor is considered risky by fellow mobsters Kowalski and Martin, believing it may lead to unwanted investigation. They demand a 25% cut of the prison's profits, which Hiram refuses. Kowalski and Martin, however, turn Hiram's capo Adams into hospitalizing Andre, leaving the Lodges shorthanded on security. Archie scares the two into abandoning the deal with the help of Reggie and other Riverdale athletes. Meanwhile, the car belonging to the man Chic killed is found. The owner of the car demands $10,000 from the Coopers to prevent her from going to the police, but Jughead and the Serpents scare her away. Alice sends Chic away and apologizes the Serpents for her years of badmouthing them. Toni and Veronica discover that Cheryl has been admitted into conversion therapy, and with help from Nana Rose, find out she's at Sisters of the Quiet Mercy. Toni, Veronica, and Kevin rescue Cheryl, and Toni and Cheryl kiss. Cheryl soon returns to Riverdale High, which she declares 'will burn'.
3118"Chapter Thirty-One: A Night to Remember"Jason StoneArabella Anderson & Tessa Leigh WilliamsApril 18, 2018 (2018-04-18)T13.208181.10[34]
During a rehearsal of Riverdale High's musical production of Carrie, Cheryl calls out those who question her ability to play the lead role of Carrie White by demonstrating her singing ability. After rehearsal, Kevin confides in Jughead that he received several threats demanding that the role of Carrie be recast, supposedly from the Black Hood. Kevin gives in, and Midge replaces Cheryl as Carrie. Tensions arise between Archie and Fred after he finds out that Hiram bought Archie his first car, to which Archie warns Hiram not to get between him and his father. Cheryl, doused in blood, confronts her mother for her actions against the family and demands that she be emancipated. During the performance, a set wall is moved up to reveal Midge hung up to the wall with knives, murdered by the Black Hood who leaves a warning of his return.
3219"Chapter Thirty-Two: Prisoners"Jennifer PhangCristine ChambersApril 25, 2018 (2018-04-25)T13.208191.17[35]
Following Midge's funeral, her mother, Cheryl and the River Vixens blame Sheriff Keller for her death, causing him to consider resigning. Archie is abducted by Nick St. Clair, who demands a ransom from the Lodges. With her parents unwilling to pay and lacking the money herself, Veronica pretends to surrender herself to Nick but drugs him. Archie manages to escape and they hold Nick for ransom instead. Meanwhile, Betty and Jughead investigate Chic and learn from the Sisters of the Quiet Mercy that he is an impostor, resulting in his imprisonment. Betty is secretly contacted by the Black Hood, who offers to get rid of Chic. Betty gets Chic to confess that he murdered her real brother, Charles, by accident and then hands him over to the Black Hood, leaving him to die. Betty lies to Alice that Chic left town before learning that Hal was absent at the time of the exchange, leading her to suspect him as the Black Hood.
3320"Chapter Thirty-Three: Shadow of a Doubt"Gregory SmithYolanda E. LawrenceMay 2, 2018 (2018-05-02)T13.208201.11[36]
Betty tells Cheryl that she believes Hal is the Black Hood. Hiram restarts The Red Circle in hopes of causing unrest, and help Hermione's campaign. Moose reveals that Midge was having an affair with Fangs. A body, first thought to be Chic's, is found and Betty reveals she feels guilty for his presumed death. Fangs is arrested at school. Members of The Red Circle damage The Whyte Worm, and Reggie later reveals that Hiram is paying them against each other. Betty and Cheryl visit a room being paid for by Hal and find the same book used as a cipher previously. After the Black Hood attacks the Mayoral debate, Veronica wants her mother to stop running but she insists on continuing. Betty confronts her father, and arranges a meeting with him later. The Black Hood then appears at Cheryl's door. Fangs is released from prison, but is accidentally shot amidst the protesters outside.
3421"Chapter Thirty-Four: Judgment Night"Cherie NowlanShepard BoucherMay 9, 2018 (2018-05-09)T13.208211.00[37]
The Black Hood attacks Cheryl, but she wounds him with a bow-and-arrow. Reggie is accused to be Fangs' shooter, but it is later revealed to be Midge's mother. Veronica searches Hiram's study, where she finds that Hiram planned to reveal Hermione's affair with Fred, but Hermione reveals her involvement, as it would destroy Fred's campaign. The son of the mobster whose death Hiram arranged attacks the Lodges, killing Andre, but Hermione shoots him dead. The Ghoulies are released from prison and attack Pop's. Meanwhile, Hal reveals himself as the Black Hood to Betty and Alice. After admitting he did not attack the debate, he is subdued by Betty and arrested. Fred, who is wearing a bullet proof vest, is shot by a man in a black hood, and Betty and Archie realize the man was not Hal. Penny Peabody resurfaces and holds Toni captive but Jughead and Cheryl help her escape. F.P. alerts the Serpents of Fangs' death, and the Serpents decide to fight the Ghoulies. Jughead turns himself over to avoid bloodshed, but Penny breaks her promise, and the Ghoulies attack Jughead. Learning of this, F.P. goes to save him. Later, Archie, Cheryl, Betty, and the Serpents find F.P. carrying Jughead's bloodied, unconscious body.
3522"Chapter Thirty-Five: Brave New World"Steven A. AdelsonRoberto Aguirre-SacasaMay 16, 2018 (2018-05-16)T13.208221.28[38]
Jughead survives his assault and F.P. reveals Fangs is alive. Sheriff Minetta reveals the second Black Hood to be Tall Boy, who was killed by an officer. Cheryl discovers Penelope and Claudius meeting with Hiram and informs Veronica, who reveals this to Hermione. Hermione, believing it to be conceivable that Hiram planned the attack at the debate, reveals to Veronica that Hiram plans to consolidate the entire Southside, and needs the Whyte Worm to set his plan fully into motion. Jughead, Archie, and Cheryl lead the Serpents to the Northside, where they are offered asylum. Veronica buys the Worm, and trades it with Hiram for Pop's. F.P. retires from the Serpents, naming Jughead the new King, with Cheryl joining the Serpents. Hermione wins the mayoral election. Later, Hiram meets with Penny, Penelope, Claudius, Sheriff Minetta, and Malachi, to discuss joining forces. Archie is elected student body president, but is wrongfully arrested by Sheriff Minetta during his inaugration for the murder of one of the intruders from the lake house that one of Hiram's thugs killed.

text: Season 3[edit]

text:
No.overallNo. inseasonTitleDirected byWritten byOriginal air dateProd.codeUS viewers(millions)361"Chapter Thirty-Six: Labor Day"[39]Kevin SullivanRoberto Aguirre-SacasaOctober 10, 2018 (2018-10-10)[1]TBATBD
372"Chapter Thirty-Seven: Fortune and Men's Eyes"[40]Jeff WoolnoughMichael GrassiOctober 17, 2018 (2018-10-17)TBATBD

text: Ratings[edit]

text: Season 1 (2017)[edit]

text:
No.

Title

Air date
Rating/share(18–49)
Viewers(millions)
DVR(18–49)
DVR viewers(millions)
Total(18–49)
Total viewers(millions)

1

"Chapter One: The River's Edge"

January 26, 2017
0.5/2
1.38[4]
0.4
1.01
0.9
2.38[41]

2

"Chapter Two: A Touch of Evil"

February 2, 2017
0.4/2
1.15[5]
0.4
0.76
0.8
1.91[42]

3

"Chapter Three: Body Double"

February 9, 2017
0.5/2
1.20[6]
N/A
0.71
N/A
1.90[43]

4

"Chapter Four: The Last Picture Show"

February 16, 2017
0.4/1
1.14[7]
0.4
0.73
0.8
1.87[44]

5

"Chapter Five: Heart of Darkness"

February 23, 2017
0.3/1
0.98[8]
0.4
0.71
0.7
1.69[45]

6

"Chapter Six: Faster, Pussycats! Kill! Kill!"

March 2, 2017
0.4/1
1.09[9]
N/A
N/A
N/A
N/A

7

"Chapter Seven: In a Lonely Place"

March 9, 2017
0.4/1
1.03[10]
0.3
0.76
0.7
1.80[46]

8

"Chapter Eight: The Outsiders"

March 30, 2017
0.4/2
0.99[11]
N/A
0.55
N/A
1.54[47]

9

"Chapter Nine: La Grande Illusion"

April 6, 2017
0.3/1
0.91[12]
N/A
0.63
N/A
1.54[48]

10

"Chapter Ten: The Lost Weekend"

April 13, 2017
0.3/1
0.87[13]
0.3
0.58
0.6
1.48[49]

11

"Chapter Eleven: To Riverdale and Back Again"

April 27, 2017
0.3/1
0.89[14]
N/A
N/A
N/A
N/A

12

"Chapter Twelve: Anatomy of a Murder"

May 4, 2017
0.3/1
0.98[15]
0.3
0.58
0.6
1.56[50]

13

"Chapter Thirteen: The Sweet Hereafter"

May 11, 2017
0.4/2
0.96[16]
N/A
0.56
N/A
1.52[51]

text: Season 2 (2017–18)[edit]

text:
No.

Title

Air date
Rating/share(18–49)
Viewers(millions)
DVR(18–49)
DVR viewers(millions)
Total(18–49)
Total viewers(millions)

1

"Chapter Fourteen: A Kiss Before Dying"

October 11, 2017
0.8/3
2.34[17]
0.6
1.40
1.4
3.74[52]

2

"Chapter Fifteen: Nighthawks"

October 18, 2017
0.6/2
1.76[18]
0.6
1.34
1.2
3.10[53]

3

"Chapter Sixteen: The Watcher in the Woods"

October 25, 2017
0.6/2
1.62[19]
0.6
1.32
1.2
2.94[54]

4

"Chapter Seventeen: The Town That Dreaded Sundown"

November 1, 2017
0.6/2
1.51[20]
0.5
1.30
1.1
2.80[55]

5

"Chapter Eighteen: When a Stranger Calls"

November 8, 2017
0.5/2
1.47[21]
0.5
1.23
1.0
2.70[56]

6

"Chapter Nineteen: Death Proof"

November 15, 2017
0.5/2
1.43[22]
0.5
1.23
1.0
2.66[57]

7

"Chapter Twenty: Tales from the Darkside"

November 29, 2017
0.5/2
1.45[23]
0.5
1.19
1.0
2.64[58]

8

"Chapter Twenty-One: House of the Devil"

December 6, 2017
0.5/2
1.48[24]
0.6
1.20
1.1
2.68[59]

9

"Chapter Twenty-Two: Silent Night, Deadly Night"

December 13, 2017
0.5/2
1.43[25]
N/A
N/A
N/A
N/A

10

"Chapter Twenty-Three: The Blackboard Jungle"

January 17, 2018
0.5/2
1.44[26]
0.5
1.14
1.0
2.59[60]

11

"Chapter Twenty-Four: The Wrestler"

January 24, 2018
0.5/2
1.39[27]
0.5
1.15
1.0
2.54[61]

12

"Chapter Twenty-Five: The Wicked and the Divine"

January 31, 2018
0.5/2
1.34[28]
0.5
1.06
1.0
2.40[62]

13

"Chapter Twenty-Six: The Tell-Tale Heart"

February 7, 2018
0.5/2
1.28[29]
0.4
0.96
0.9
2.24[63]

14

"Chapter Twenty-Seven: The Hills Have Eyes"

March 7, 2018
0.5/2
1.26[30]
0.4
0.95
0.9
2.22[64]

15

"Chapter Twenty-Eight: There Will Be Blood"

March 14, 2018
0.4/2
1.19[31]
0.4
0.91
0.8
2.10[65]

16

"Chapter Twenty-Nine: Primary Colors"

March 21, 2018
0.4/2
1.16[32]
0.4
0.94
0.8
2.10[66]

17

"Chapter Thirty: The Noose Tightens"

March 28, 2018
0.3/1
0.96[33]
0.4
0.91
0.7
1.87[67]

18

"Chapter Thirty-One: A Night to Remember"

April 18, 2018
0.4/2
1.10[34]
0.3
0.83
0.7
1.93[68]

19

"Chapter Thirty-Two: Prisoners"

April 25, 2018
0.4/2
1.17[35]
0.4
0.81
0.8
1.97[69]

20

"Chapter Thirty-Three: Shadow of a Doubt"

May 2, 2018
0.4/2
1.11[36]
0.4
0.93
0.8
2.04[70]

21

"Chapter Thirty-Four: Judgment Night"

May 9, 2018
0.4/2
1.00[37]
0.3
0.90
0.7
1.91[71]

22

"Chapter Thirty-Five: Brave New World"

May 16, 2018
0.4/2
1.28[38]
0.4
0.76
0.8
2.04[72]