Later in his life, his brush strokes became looser, fine detail becoming less important than the overall impression. His earlier pieces radiated gaiety and liveliness, while his later portraits emphasized the stature and dignity of the people portrayed. This austerity is displayed in "Regents of the St Elizabeth Hospital" in 1641 and, two decades later, "The Regents" and "Regentesses of the Old Men's Almshouse" (), which are masterpieces of color, though in substance all but monochromes. His restricted palette is particularly noticeable in his flesh tints, which became greyer from year to year, until finally the shadows were painted in almost absolute black, as in the "Tymane Oosdorp".