Nicolas Maes was the son of Gerrit Maes, a merchant from Dordrecht. He proved a precocioous talent joining the studio of Rembrandt at the age of 16 where he stayed until 1652/4. At 22 he returned to Dordrecht and married Adriana Brouwers, a widow. He moved to Antwerp between 1660 and 1665 when his style departs from that of the Rembrandt studio and veers more towards Jordaens. He had, however, returned to Amsterdam by 1678 and remained here until his death.

His early portraits, painted against a dark background, emphasize psychological aspects and are reminiscent of Rembrandt and Barent Fabritius. His early genre paintings also recall Fabritius in their realistic portrayal of quiet bourgeois life; a craftsman, a maid engaged in domestic duties, old men and women reading or praying. He paints with delicate tones of creamy white, lemon yellow and warm vermilion, with little blue; these show brightly against a warm brown background. Contrasts of light are carefully observed, as with Jan Lievens and Govaert Flinck. He also resembles these two artists in showing later a Flemish strain, especially in the portraits, which form a major part of his work. It is certainly in his earlier work that his displays his most powerful and pschologically intense work and which betrays the debt to his master.

He also reflects the contemporary love of antique, mythological or allegorical disguise. The background is usually a twilit park with a view of the evening sky. The skilful distribution of light and shade and fine red and soft half-tones are among the charms of his colouring.

His work is found in most major and minor institutions around the world.