The imagination of the Netherlands comes close to a mythoid aggregate. The corpus transmits a superficial and picturesque imagery, based on tourist, pictorial and historical sources. The tourist conventions reinforce its stereotypical and anachronistic nature. The anachronism is also typical of the images borrowed from paintings of the Dutch school and a few art historians. Realism is most appreciated when poetically tinged, as with Rembrandt who reveals the boundary between dream and reality. History provides the authors with heroic or dramatic episodes, as well as with legends expressing national character or the struggle against the waters. At the dawn of the 20th century, the imagination of the Netherlands becomes more introspective. Societal changes and especially the industrialisation put the place of man in question. We have subjected three groups of images to a symbolical analysis. First, the group of miniaturised dwelling places, that express a unfulfilled desire for intimacy and a refuge out of time. Then, a group related to the painting as a mirror. These boundary images of an inaccessible space express the same disappointed desire. The sea images express progressive ideas as well as fear of mechanization at the same time. The illusion of the fantastic and the phantasmagoria make it possible to vanquish the setbacks suffered through the figures of intimacy. Against the industrialisation, against the changes of modern society, as well as against mass tourism, the author will oppose his imaginary experience of the world, and through his description will give a autoreferential image, revealing of his dreams and desires. ; L’imaginaire des Pays-Bas se rapproche d’un agrégat mythoïde. Le corpus véhicule une imagerie superficielle et pittoresque, construite autour de sources touristiques, picturales et historiques. Les conventions du tourisme en renforcent le caractère stéréotypée et anachronique. L’anachronisme caractérise aussi les images empruntées aux tableaux de l’école hollandaise et à quelques ...