UC Santa Barbara UC Santa Barbara Electronic Theses and Dissertations Title "We are bent, not broken by the waves": Clandestine Devotion and Community Perseverance in Seventeenth-Century Dutch Catholic Visual Culture Permalink https://escholarship.org/uc/item/28z803d5 Author Zumaya, Diva Publication Date 2018 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Santa Barbara "We are bent, not broken by the waves": Clandestine Devotion and Community Perseverance in Seventeenth-Century Dutch Catholic Visual Culture A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Art History by Diva Gabrielle Zumaya Committee in charge: Professor Ann Jensen Adams, Chair Professor Mark Meadow Professor Ann Taves December 2018 The dissertation of Diva Gabrielle Zumaya is approved. _____________________________________________ Ann Taves _____________________________________________ Mark Meadow _____________________________________________ Ann Jensen Adams, Committee Chair "We are bent, not broken by the waves": Clandestine Devotion and Community Perseverance in Seventeenth-Century Dutch Catholic Visual Culture Copyright © 2018 By Diva Gabrielle Zumaya iii ACKNOWLEDGEMENTS I would first like to thank the University of California Santa Barbara, in particular my advisor Prof. Ann Jensen Adams, for allowing me the opportunity to pursue my graduate education. I am especially grateful to Prof. Adams and Prof. Mark Meadow for their unyielding support of my dissertation project, critical feedback, and professional mentorship. I also thank Prof. Ann Taves, whose service on my committee and thoughtful criticism has been greatly appreciated. I am indebted to Prof. Bruce Robertson, who has also been tremendously helpful as an advocate and advisor in my curatorial career. This dissertation is dedicated to the family of friends I have made in the History of Art and Architecture department at the University of California Santa Barbara, without whom the completion of this dissertation project would not have been possible. I am also indebted to my father Armando Zumaya and mother Evelyn Floris, who have always nurtured my education and love of art. Finally, I am thankful to my husband Sam and our two cats, Salem and Luna, for their continued love and encouragement throughout my time as a graduate student. iv VITA OF DIVA GABRIELLE ZUMAYA December 2018 EDUCATION Bachelor of Arts in Art History, Mills College, Oakland, May 2010 Master of Arts in the History of Art and Architecture, University of California, Santa Barbara, March 2012 Doctor of Philosophy in the History of Art and Architecture, University of California, Santa Barbara, December 2018 (expected) PROFESSIONAL EMPLOYMENT Sep 2018-present: Wallis Annenberg Curatorial Fellow, European Painting and Sculpture, Los Angeles County Museum of Art (LACMA) Jan 2017-Aug 2018: Curatorial Assistant, Santa Barbara Museum of Art June 2015-Mar 2018: Teaching Associate, Department of the History of Art and Architecture, University of California, Santa Barbara June 2014-Jan 2018: Adjunct Assistant Curator, Art, Design and Architecture Museum, University of California, Santa Barbara Sep 2011-Mar 2017: Teaching Assistant, Department of the History of Art and Architecture, University of California, Santa Barbara Sep 2015-Dec 2015: Instructor, History of Art and Architecture Outreach Program PUBLICATIONS “Religie wert Vervolgt: The Duke of Alba and Allegories of Injustice.” Catalogue Entry. Roep om rechtvaardigheid. Kunst en rechtspraak in de Bourgondische Nederlanden. Exh. cat. Mechelen: Uitgeverij Kannibaal, 2018. Sacred Art in the Age of Contact: Chumash and Latin American Traditions in Santa Barbara. Noticias: A Journal of the Santa Barbara Historical Museum LV, No. 3. Santa Barbara: Santa Barbara Historical Museum, 2017. Rembrandt and the Jews: The Berger Print Collection. Exh. Cat. Santa Barbara: Westmont Ridley-Tree Museum of Art, 2015. Inside Out: UCSB MFA Thesis Exhibition 2013. Exh. Cat. Santa Barbara: UC Santa Barbara, Department of Art, 2013. AWARDS California Humanities “Humanities for All” Project Grant, for the exhibition Sacred Art in the Age of Contact, 2017 v Short-Term Weber Fellowship, Huntington Library, Art Collection, and Botanical Gardens, two months, April-May 2016 ABD Research Travel Grant, History of Art and Architecture, University of California, Santa Barbara, Summer 2015 Graduate Committee Award, History of Art and Architecture, University of California, Santa Barbara, 2014 Pre-ABD Research Travel Grant, History of Art and Architecture, University of California, Santa Barbara, Summer 2014 Doctoral Scholars Fellowship, University of California Santa Barbara, 2010-2014 Phi Beta Kappa Honor Society, Mills College, 2010 FIELDS OF STUDY Major Field: Seventeenth-century Dutch visual culture Minor Field: Art of the Spanish Colonial Americas vi ABSTRACT "We are bent, not broken by the waves": Clandestine Devotion and Community Perseverance in Seventeenth-Century Dutch Catholic Visual Culture by Diva Gabrielle Zumaya In the Northern Netherlands, despite its interfaith diversity, toleration was tantamount to an unstable coexistence that limited the rights of subordinate faiths. After the Alteration in 1578 prohibited Dutch Catholics from publicly displaying their faith, holding public office, and dispossessed of all church property by Protestant civil authorities. My dissertation argues that, in these conditions, Catholics mobilized visual culture to create a permanent record of their distinctive shared experience of subordination, producing a collective culture of resistance that undermined Reformed hegemony. In so doing, they adapted to their devotional needs both the late medieval tradition of affective piety that originated in the Northern Netherlandish movement of the Devotio Moderna and the seventeenth-century mystical revival which was taking place across Europe. From their homes, Dutch Catholic women acted as leaders in their faith communities by transcribing sermons, circulating visual materials, and organizing secret performances of the Mass. By bringing together a wider range of visual materials, devotional texts and archival documents, this project envisions how visual culture ensured the continuity of the Dutch Catholic community. In this way, this vii dissertation challenges long-held assumptions about the Protestant nature of the post- Reformation Netherlands, while engaging with ever-relevant concerns regarding social relations between the powerful and powerless. From the act of hand coloring a small prayer card of Christ’s flagellation to the foundation of clandestine sacred spaces, my dissertation surveys the material scope of Dutch Catholic visual culture and its driving role in community-organized reformation. viii "We are bent, not broken by the waves": Clandestine Devotion and Community Perseverance in Seventeenth-Century Dutch Catholic Visual Culture TABLE OF CONTENTS I. "And will not God bring about justice for his chosen ones?": The Hidden Transcript of the Seventeenth-Century Dutch Catholic Reformation .......................... 1 A. Dutch Catholic Communities and the Holland Mission: Tolerance, Persecution, and Spiritual Identity ............................................................ 9 1. The Dutch Revolt and Anti-Catholic Sentiment ............................. 9 2. The Holland Mission and Catholic Reformation .......................... 12 3. Tolerance and Interconfessional Interaction ................................. 19 4. Missionary Efforts and Conversion ............................................... 25 B. Eremitic Retreat and Heroic Hagiography .......................................... 26 C. Lay Devotion and the Adaptation of Late Medieval Affective Piety . 30 D. Schuilkerken and Clandestine Gathering ............................................ 36 E. Appendix. Timeline of the Dutch Catholic Reformation .................... 41 II. The Triumph of Devotion: Abraham Bloemaert’s ‘t Bosch der Eremyten ende Eremitinnen and Penitential Perseverance ................................................................. 43 A. Bloemaert's Utrecht and Bolswert's Antwerp: Catholilc Community Networks .................................................................................................. 47 B. Saints Alone in Devotion: Bloemaert and the Tridentine ix Hagiographic Tradition ............................................................................ 51 C. Bloemaert's ‘t Bosch der Eremyten ende Eremitinnen: Asceticism, Devotional Fervor, and Mystical Engagement with the Divine .............. 59 D. Mysticism in the Dutch Catholic Community: Private Devotion as Eremitic Retreat ....................................................................................... 69 E. Dutch Catholic Women's Monasticism and Klopje Communities ...... 73 F. Negotiating Women's Spiritual Power in 't Bosch ............................... 82 1. Modest Covering in 't Bosch and Klopje Culture .......................... 89 2. The Magdalene as a Model for Mystical Penance ......................... 93 III. Tue me caedis: Pieter de Grebber's Ecce Homo and Late Medeival Netherlandish Devotion ........................................................................................... 104 A. Pieter de Grebber and the Haarlem Chapter ..................................... 106 B. Pieter de Grebber's Ecce Homo and the Suffering Christ in Devotional Print Culture