THE EXOTIC GIFT and the ART of the SEVENTEENTH-CENTURY DUTCH REPUBLIC By

Total Page:16

File Type:pdf, Size:1020Kb

THE EXOTIC GIFT and the ART of the SEVENTEENTH-CENTURY DUTCH REPUBLIC By THE EXOTIC GIFT AND THE ART OF THE SEVENTEENTH-CENTURY DUTCH REPUBLIC By ©2013 ELLEN O’NEIL RIFE Submitted to the graduate degree program in Art History and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ________________________________ Chairperson Linda Stone-Ferrier, Ph.D. ________________________________ Sally J. Cornelison, Ph.D. ________________________________ Stephen H. Goddard, Ph.D. ________________________________ Amy McNair, Ph.D. ________________________________ William D. Keel, Ph.D. Date Defended: 4/9/2013 The Dissertation Committee for Ellen O’Neil Rife certifies that this is the approved version of the following dissertation: THE EXOTIC GIFT AND THE ART OF THE SEVENTEENTH-CENTURY DUTCH REPUBLIC ________________________________ Chairperson Linda Stone-Ferrier, Ph.D. Date approved: 4/9/2013 ii Abstract This dissertation examines the intersection between art and the gifting of exotic objects in the seventeenth-century United Provinces, directing attention to a special class of imagery visualizing the remarkable extent to which Europe’s first consumer culture became intertwined with foreign goods and influences. Its four chapters present representative case studies encompassing a range of media, including prints and paintings, and artistic genres, such as still life, portraiture, landscape, and allegory, from the mid- through the late- seventeenth century. These episodes of exotic gift exchange and their manifestation in art belonged to public and private spheres, the gifting of men and women, and multiple classes of society. In analyzing these images, my methodology draws on close readings; socioeconomic, historical, pictorial, and cultural contexts; gender; and issues in gift theory, including reciprocity, identity, personalization, and commodity/gift status, to explore the pictures’ meanings or functions for their audiences. Chapter one posits that Rembrandt van Rijn’s 1650 print of a Filipino shell was designed by the artist to function as a gift necessitating reciprocation, and/or as a work of art for sale, in an effort to ameliorate his tenuous financial situation. Chapter two provides a cultural biography of two c. 1665 paintings depicting Brazil by Frans Post (São Paulo, Ema Gordon Klabin Cultural Foundation; Rio de Janeiro, Private Collection), which Johan Maurits van Nassau gave to (French king) Louis XIV in 1678, and considers the pictures’ significance for their original Dutch audience, the giver, and the French court. Chapter three focuses on Nicolaes Berchem’s c. 1665 Harbor Scene (Hartford, Wadsworth Atheneum) and proposes that the exotic gift exchange portrayed in the allegorical picture conflates trade and gift in the context of the burgeoning commercial city of Amsterdam. Chapter four highlights Gerard Hoet’s c. 1678 Portrait of Anna iii Elisabeth van Reede (Oud Zuilen, Slot Zuylen) that appears to make a statement about the noblewoman’s role in her family and society by virtue of her wearing a garment evocative of Japanese robes gifted to the Dutch, which became a convention of male portraiture. This representative selection of pictures reveals the incorporation of the exotic gift into the fabric of Dutch art and culture, indicating the significant role the exotic played in the formation of Dutch identity. iv Acknowledgments First and foremost, I express my abiding gratitude to Linda Stone-Ferrier, my doctoral adviser. Over the past ten years, she has been my champion. Her generosity of heart and spirit is unmatched. She invested in me throughout the doctoral process with her time and her significant efforts. Unequivocally, without her, this dissertation would not have been completed. Perhaps I can best express my thanks by saying that I would consider it a great honor to become the type of adviser, teacher, and mentor she has been to me. I have been lucky enough to have studied with women, including Martha Moffitt Peacock, Julie Berger Hochstrasser, and Linda Stone-Ferrier, who “make it work”—who are mothers, scholars, and teachers, and who took the time to encourage my own dreams and vision for my life. I am deeply grateful to be descended from such a lineage. The Hall Center for the Humanities at the University of Kansas provided essential funding for this project in the form of the Andrew Debicki International Travel Scholarship in the Humanities and a Graduate Summer Research Award. The Kress Foundation Department of Art History supported my degree progress via teaching assistantships, academic awards, and research funding, in addition to facilitating my being granted a Dissertation Completion Fellowship from KU that helped me bring the project to a successful conclusion. I express my thanks to the individuals and institutions who assisted me in accomplishing my research, including Hester Kuiper at Slot Zuylen, Lodewijk Gerretsen and Willem Brouwer at Kasteel Amerongen, and Paul Beliën at the GeldMuseum in Utrecht, who generously spent time discussing my research and made available to me fantastic resources, including their collections and curatorial files. My gratitude also extends to the staffs of the KU Library System, the Koninklijke Bibliotheek, the Rijksbureau voor Kunsthistorische Documentatie, the v Utrechts Archief, and the British Museum Department of Prints and Drawings for providing other research assistance. I am also grateful to members of the KU community who gave me advice and feedback as regards my project, including Sally Cornelison, Amy McNair, Steve Goddard, Sherry Fowler, Mary Dusenbury, Susan Craig, and Leslie Tuttle. I have especially benefited from Sally Cornelison’s thoughtful and generous mentoring over the years. My thanks also go to Amy McNair for graciously allowing me to attend her wonderful courses. To my friends and family, I express my deep and sincere thanks for their support and forbearance. I have been in pursuit of this degree for a decade. Such an extended period of time brought many people into my life who, in one way or another, made their own contribution to this project. I have been richly blessed with a profusion of loving support. To my grandmothers, one of whom did not survive to see me get the doctoral degree, I thank you for your pursuit of knowledge and your willingness to share and sustain my efforts to do the same. To friends who took care of my children, especially Susan Peterson and the Gordon-Ross clan, I convey my thanks for quiet, worry-free work time. To fellow art history friends, especially Madeline Rislow, Denise Giannino, and Lindsey Waugh, I express my thanks for keeping me in the loop and helping me stay professionally engaged. To my sister-in-law Teresa, how grateful I am that you married my brother so that I could always have an excuse to converse with you. To my husband, I thank you for putting up with me and allowing me the space and time to work through this project and complete it. To my parents, I express my gratitude for your unfailing support over thirty years of schooling, from kindergarten to graduate school. To my beautiful and bright daughters, I thank you for your patience and your affection. I hope you will never regret that your mother got a doctoral degree in the Humanities, and how I hope you will do your own thing (and choose to study the hard sciences). And last, to Maud Humphrey, you are missed. vi Table of Contents Abstract…………………………………………………………………………………………...iii Acknowledgements…………………………………………………………………………..……v List of Figures…………………………………………………………………………………...viii Introduction - Gifts as Glue: Exotic Gifts and the Seventeenth-Century Dutch Republic………..1 Chapter One - Layers of Preciousness: Rembrandt’s Shell as an Exotic Gift…………………...34 Chapter Two - Memory, Identity, and Gift Exchange: Accumulating History in Frans Post’s Views of Olinda…………………………………………………..73 Chapter Three - The Gift of Trade: An Exotic Presentation in Nicolaes Berchem’s Harbor Scene…………………………………………………………...132 Chapter Four - Gerard Hoet’s Portrait of Anna Elisabeth van Reede: Gift Gowns, Gender, and the Construction of Identity…………………………….…172 Conclusion - Missing Evidence: The Future of the Study of Exotic Gifts and Art in the Seventeenth-Century Dutch Republic………………………………......213 Bibliography………………………………......………..…………………………………….…218 Figures……………………………………………………………………..……………………253 vii List of Figures Figure 1-1: Rembrandt van Rijn, The Shell (Conus marmoreus), 1650 Figure 1-2: Rembrandt van Rijn, The Shell (Conus marmoreus), 1650 Figure 1-3: Rembrandt van Rijn, The Shell (Conus marmoreus), 1650 Figure 1-4: Conus marmoreus in habitat Figure 1-5: Conus marmoreus attacking another animal Figure 1-6: Roemer Visscher, Shell Emblem from Sinnepoppen, 1614 Figure 1-7: Clara Peeters, Fish Still Life with a Small Bouquet of Flowers, 1615 Figure 1-8: Jan Bruegel the Elder, Vase of Flowers, 1606 Figure 1-9: Jan van Kessel the Elder, Flowers in a Porcelain Vase, c. 1650 Figure 1-10: Pieter Claesz, Still Life with Nautilus, Book, and Goblet, 1624 Figure 1-11: Ambrosius Bosschaert the Elder, Bouquet in a Roemer, 1607 Figure 1-12: Balthasar van der Ast, Vase of Flowers, Basket of Fruit, and Shells, 1623 Figure 1-13: Balthasar van der Ast, Still Life with Shells and Coral, 1620 Figure 1-14: Wenceslas Hollar, Cypraea tigris (Tiger cowrie), c. 1645 Figure 1-15: Wenceslas Hollar, Mitra cardinalis (Cardinal mitre) and Terebra subulata (Subulate auger), c. 1645 Figure 1-16: Wenceslas Hollar, Conus imperialis (Imperial Cone), c. 1645 Figure 1-17: Herman Wingendorp, The Cabinet of Ole Worm, 1655 Figure 1-18: Jan Bruegel, Venus and Cupid in an Art Cabinet, c. 1630 Figure 1-19: Frans Francken the Younger, A Collector’s Cabinet, 1619 Figure 1-20: Frans Francken the Younger, Encyclopedic Still Life, 1617 Figure 1-21: Hendrick Goltzius, Portrait of Jan Govertsz. van der Aar, 1603 Figure 1-22: Abraham Susenier, Still Life of Shells, 1659 Figure 1-23: Gerard Dou, Allegorical Self-Portrait, 1647 Figure 1-24: Gerard Dou, Old Painter in his Studio, 1649 Figure 1-25: Cornelis de Man, The Visit of the Curiosities Dealer, c. 1660 Figure 1-26: K.
Recommended publications
  • Digitalisation: Re-Imaging the Real Beyond Notions of the Original and the Copy in Contemporary Printmaking: an Exegesis
    Edith Cowan University Research Online Theses: Doctorates and Masters Theses 2017 Imperceptible Realities: An exhibition – and – Digitalisation: Re- imaging the real beyond notions of the original and the copy in contemporary printmaking: An exegesis Sarah Robinson Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses Part of the Printmaking Commons Recommended Citation Robinson, S. (2017). Imperceptible Realities: An exhibition – and – Digitalisation: Re-imaging the real beyond notions of the original and the copy in contemporary printmaking: An exegesis. https://ro.ecu.edu.au/theses/1981 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses/1981 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth).
    [Show full text]
  • A Tapuya “Equestrian Nation”? Horses and Native Peoples in the Backlands of Colonial Brazil
    A Tapuya “Equestrian Nation”? Horses and Native Peoples in the Backlands of Colonial Brazil Felipe Vander Velden This chapter is dedicated to Roberto, vaqueiro (cowboy), Xukuru do Ororubá, Pernambuco, Brazil I. Introduction The horse (Equus caballus Linnaeus 1758) was introduced to the Americas at the end of the fifteenth century: on his second transatlantic journey to the Caribbean, Christopher Columbus brought horses that landed on the island of Hispaniola in November 1493.1 Several narratives of the conquest insist that these animals were fundamental to the advance of Iberian colonization in America, not only because they allowed men and cargo to be transported over often difficult terrain, but also because of the terror they inflicted on native peoples who could not understand the strength and impetuosity of this previously unknown animal, nor its strange amalgamation with a (seemingly) human rider.2 But Matthew Restall, in his fundamental analysis of the myths of the Spanish conquest of the New World, argues that the spectacular role assigned to the action of horses was above all wishful 1 John Johnson, “The introduction of the horse into the Western Hemisphere,” The Hispanic American Historical Review 23:4 (1943): 587-610. 2 Johnson, “The introduction”; Robert Cunninghame Graham, The horses of the conquest: a study of the steeds of the Spanish Conquistadors (Norman: University of Oklahoma Press, 1949). Felipe Vander Velden thinking, and that horses were not as decisive as depicted by the heroic historiography of conquest.3 From
    [Show full text]
  • Henry, Duke of Gloucester C
    National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Dutch Paintings of the Seventeenth Century Adriaen Hanneman Dutch, c. 1603/1604 - 1671 Henry, Duke of Gloucester c. 1653 oil on canvas overall: 104.8 x 87 cm (41 1/4 x 34 1/4 in.) framed: 128.91 x 111.13 x 11.43 cm (50 3/4 x 43 3/4 x 4 1/2 in.) Andrew W. Mellon Collection 1937.1.51 ENTRY The splendidly dressed youth in this three-quarter-length portrait looks out assuredly at the viewer. With a commanding gesture, he rests his right hand on a baton before him while he turns to his left and places his near hand over the hilt of a gold-topped rapier. His buff-colored doublet, richly brocaded with gold and silver threads, has split sleeves that reveal a white blouse with large, pleated cuffs. His breastplate is crossed by a blue ribbon that lies under his flat, white collar and tassel. The broadly painted brown rock cliff behind him and the distant landscape vista to the left provide a neutral background for this elegant figure. The identities both of the sitter and of the artist who painted him have been the subject of much speculation in the literature. [1] Descamps, the first to mention the painting while it was in the possession of Count Heinrich von Brühl (1700–1763) in Dresden, identified the work as a portrait of Willem II by Adriaen Hanneman. [2] Smith cataloged it in 1831 as a portrait by Sir Anthony van Dyck (Flemish, 1599 - 1641), and most, although not all, subsequent writers followed suit.
    [Show full text]
  • The Novel As Dutch Painting
    one The Novel as Dutch Painting In a memorable review of Jane Austen’s Emma (1816), Walter Scott cele­ brated the novelist for her faithful representation of the familiar and the commonplace. Austen had, according to Scott, helped to perfect what was fundamentally a new kind of fiction: “the art of copying from nature as she really exists in the common walks of life.” Rather than “the splendid scenes of an imaginary world,” her novels presented the reader with “a correct and striking representation of that which [was] daily taking place around him.” Scott’s warm welcome of Emma has long been known to literary historians and fans of Austen alike. But what is less often remarked is the analogy to visual art with which he drove home the argument. In vividly conjuring up the “common incidents” of daily life, Austen’s novels also recalled for him “something of the merits of the Flemish school of painting. The subjects are not often elegant and certainly never grand; but they are finished up to nature, and with a precision which delights the reader.”1 Just what Flemish paintings did Scott have in mind? If it is hard to see much resemblance between an Austen novel and a van Eyck altarpiece or a mythological image by Rubens, it is not much easier to recognize the world of Emma in the tavern scenes and village festivals that constitute the typical subjects of an artist like David Teniers the Younger (figs. 1-1 and 1-2). Scott’s repeated insistence on the “ordinary” and the “common” in Austen’s art—as when he welcomes her scrupulous adherence to “common inci­ dents, and to such characters as occupy the ordinary walks of life,” or de­ scribes her narratives as “composed of such common occurrences as may have fallen under the observation of most folks”—strongly suggests that it is seventeenth-century genre painting of which he was thinking; and Teniers was by far the best known Flemish painter of such images.2 (He had in fact figured prominently in the first Old Master exhibit of Dutch and 1 2 chapter one Figure 1-1.
    [Show full text]
  • Holland and the Rise of Political Economy in Seventeenth-Century Europe
    Journal of Interdisciplinary History, xl:2 (Autumn, 2009), 215–238. ACCOUNTING FOR GOVERNMENT Jacob Soll Accounting for Government: Holland and the Rise of Political Economy in Seventeenth-Century Europe The Dutch may ascribe their present grandeur to the virtue and frugality of their ancestors as they please, but what made that contemptible spot of the earth so considerable among the powers of Europe has been their political wisdom in postponing everything to merchandise and navigation [and] the unlimited liberty of conscience enjoyed among them. —Bernard de Mandeville, The Fable of the Bees (1714) In the Instructions for the Dauphin (1665), Louis XIV set out a train- ing course for his son. Whereas humanists and great ministers had cited the ancients, Louis cited none. Ever focused on the royal moi, he described how he overcame the troubles of the civil war of the Fronde, noble power, and ªscal problems. This was a modern handbook for a new kind of politics. Notably, Louis exhorted his son never to trust a prime minister, except in questions of ªnance, for which kings needed experts. Sounding like a Dutch stadtholder, Louis explained, “I took the precaution of assigning Colbert . with the title of Intendant, a man in whom I had the highest conªdence, because I knew that he was very dedicated, intelli- gent, and honest; and I have entrusted him then with keeping the register of funds that I have described to you.”1 Jean-Baptiste-Colbert (1619–1683), who had a merchant background, wrote the sections of the Instructions that pertained to ªnance. He advised the young prince to master ªnance through the handling of account books and the “disposition of registers” Jacob Soll is Associate Professor of History, Rutgers University, Camden.
    [Show full text]
  • The Intersection of Art and Ritual in Seventeenth-Century Dutch Visual Culture
    Picturing Processions: The Intersection of Art and Ritual in Seventeenth-century Dutch Visual Culture By © 2017 Megan C. Blocksom Submitted to the graduate degree program in Art History and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Chair: Dr. Linda Stone-Ferrier Dr. Marni Kessler Dr. Anne D. Hedeman Dr. Stephen Goddard Dr. Diane Fourny Date Defended: November 17, 2017 ii The dissertation committee for Megan C. Blocksom certifies that this is the approved version of the following dissertation: Picturing Processions: The Intersection of Art and Ritual in Seventeenth-century Dutch Visual Culture Chair: Dr. Linda Stone-Ferrier Date Approved: November 17, 2017 iii Abstract This study examines representations of religious and secular processions produced in the seventeenth-century Northern Netherlands. Scholars have long regarded representations of early modern processions as valuable sources of knowledge about the rich traditions of European festival culture and urban ceremony. While the literature on this topic is immense, images of processions produced in the seventeenth-century Northern Netherlands have received comparatively limited scholarly analysis. One of the reasons for this gap in the literature has to do with the prevailing perception that Dutch processions, particularly those of a religious nature, ceased to be meaningful following the adoption of Calvinism and the rise of secular authorities. This dissertation seeks to revise this misconception through a series of case studies that collectively represent the diverse and varied roles performed by processional images and the broad range of contexts in which they appeared. Chapter 1 examines Adriaen van Nieulandt’s large-scale painting of a leper procession, which initially had limited viewership in a board room of the Amsterdam Leprozenhuis, but ultimately reached a wide audience through the international dissemination of reproductions in multiple histories of the city.
    [Show full text]
  • Evolution and Ambition in the Career of Jan Lievens (1607-1674)
    ABSTRACT Title: EVOLUTION AND AMBITION IN THE CAREER OF JAN LIEVENS (1607-1674) Lloyd DeWitt, Ph.D., 2006 Directed By: Prof. Arthur K. Wheelock, Jr. Department of Art History and Archaeology The Dutch artist Jan Lievens (1607-1674) was viewed by his contemporaries as one of the most important artists of his age. Ambitious and self-confident, Lievens assimilated leading trends from Haarlem, Utrecht and Antwerp into a bold and monumental style that he refined during the late 1620s through close artistic interaction with Rembrandt van Rijn in Leiden, climaxing in a competition for a court commission. Lievens’s early Job on the Dung Heap and Raising of Lazarus demonstrate his careful adaptation of style and iconography to both theological and political conditions of his time. This much-discussed phase of Lievens’s life came to an end in 1631when Rembrandt left Leiden. Around 1631-1632 Lievens was transformed by his encounter with Anthony van Dyck, and his ambition to be a court artist led him to follow Van Dyck to London in the spring of 1632. His output of independent works in London was modest and entirely connected to Van Dyck and the English court, thus Lievens almost certainly worked in Van Dyck’s studio. In 1635, Lievens moved to Antwerp and returned to history painting, executing commissions for the Jesuits, and he also broadened his artistic vocabulary by mastering woodcut prints and landscape paintings. After a short and successful stay in Leiden in 1639, Lievens moved to Amsterdam permanently in 1644, and from 1648 until the end of his career was engaged in a string of important and prestigious civic and princely commissions in which he continued to demonstrate his aptitude for adapting to and assimilating the most current style of his day to his own somber monumentality.
    [Show full text]
  • Declining Homogamy of Austrian-German Nobility in the 20Th Century? a Comparison with the Dutch Nobility Dronkers, Jaap
    www.ssoar.info Declining homogamy of Austrian-German nobility in the 20th century? A comparison with the Dutch nobility Dronkers, Jaap Veröffentlichungsversion / Published Version Zeitschriftenartikel / journal article Zur Verfügung gestellt in Kooperation mit / provided in cooperation with: GESIS - Leibniz-Institut für Sozialwissenschaften Empfohlene Zitierung / Suggested Citation: Dronkers, J. (2008). Declining homogamy of Austrian-German nobility in the 20th century? A comparison with the Dutch nobility. Historical Social Research, 33(2), 262-284. https://doi.org/10.12759/hsr.33.2008.2.262-284 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer CC BY Lizenz (Namensnennung) zur This document is made available under a CC BY Licence Verfügung gestellt. Nähere Auskünfte zu den CC-Lizenzen finden (Attribution). For more Information see: Sie hier: https://creativecommons.org/licenses/by/4.0 https://creativecommons.org/licenses/by/4.0/deed.de Diese Version ist zitierbar unter / This version is citable under: https://nbn-resolving.org/urn:nbn:de:0168-ssoar-191342 Declining Homogamy of Austrian-German Nobility in the 20th Century? A Comparison with the Dutch Nobility Jaap Dronkers ∗ Abstract: Has the Austrian-German nobility had the same high degree of no- ble homogamy during the 20th century as the Dutch nobility? Noble homog- amy among the Dutch nobility was one of the two main reasons for their ‘con- stant noble advantage’ in obtaining elite positions during the 20th century. The Dutch on the one hand and the Austrian-German nobility on the other can be seen as two extreme cases within the European nobility. The Dutch nobility seems to have had a lower degree of noble homogamy during the 20th century than the Austrian-German nobility.
    [Show full text]
  • The Tightrope Walk of the Dutch Nobility
    BETWEEN CONFORMING AND CONSERVING: THE TIGHTROPE WALK OF THE DUTCH NOBILITY Nina IJdens A thesis submitted for the degree of Master of Science July 2017 Department of Sociology University of Amsterdam Supervisor: Dr. Kobe de Keere Second reader: Dr. Alex van Venrooij BETWEEN CONFORMING AND CONSERVING 1 Abstract Research has shown that the Dutch nobility has adapted to modernisation processes and continues to disproportionately occupy elite positions. This thesis builds on these findings by raising the question: (1) How does the Dutch nobility aim to maintain its high status position? Secondly, this thesis builds on a growing concern within studies of social stratification on how elite positions are legitimated in a highly unequal context. It investigates the nobility’s legitimation by raising the further questions (2a) How does the nobility legitimate itself through its organisations?; and (2b) How do members of the nobility justify their manifestation as a separate social group? The dataset consists of two sources: fourteen nobility organisations’ websites and fifty-two newspaper articles from 1990 until today, that contain interviews with members of the nobility. This research conducts a qualitative content analysis of these sources, looking for discursive hints of position maintenance, organisational legitimation, and justification. It shows that nobles maintain exclusive social networks that organise interesting networking opportunities; that the nobility copied modern organisational structures through which it could manifest itself as a social group; and that nobles justify their networks by appealing to a collective identity with a right to self-realisation. Moreover, the interviewees constantly both assert and downplay differences between themselves and the general public.
    [Show full text]
  • Dutch Brazil Michiel Van Groesen
    Dutch Brazil Michiel van Groesen This is a post-print version of ‘Groesen M. van (2018), Dutch Brazil, Oxford Bibliographies.Classics,’ available online at: https://doi.org/10.1093/oBo/9780199730414- 0283 Introduction Dutch Brazil was the most important colony of the West India Company, and constituted the only truly imperial moment of the so-called Dutch Golden Age. In May 1624 a Dutch fleet invaded Salvador de Bahia, the capital of HaBsBurg Brazil, But surrendered the city to a Luso-Spanish armada eleven months later. The West India Company returned to capture PernamBuco in FeBruary 1630, gradually eXtending their territorial control from Maranhão in the north to Sergipe in the south, and retaining power in Recife until January 1654. The war the Dutch waged in Brazil, first against HaBsBurg Spain and then against the restored Portuguese monarchy, was the main geopolitical conflict in the Atlantic world in the first half of the 17th century. Despite its importance, Dutch Brazil is often regarded By historians of the Atlantic world as an incongruity. The Dutch Atlantic is considered an anomaly among more duraBle empires, while Brazil occupies a distinct position in scholarship on South America. Yet the implications of the northern European infiltration into the Iberian sphere of influence were profound. The estaBlishment of the colony undermined the notion of HaBsBurg supremacy in Latin America and increased Luso-Spanish tensions at home. It Brought a hitherto unimaginaBle (alBeit often mythologized) form of religious tolerance to the Americas, and created a multicultural society in which Protestant soldiers, Catholic sugar planters, African slaves, and Sephardic Jews all lived alongside the colony’s various native groups.
    [Show full text]
  • The Collecting, Dealing and Patronage Practices of Gaspare Roomer
    ART AND BUSINESS IN SEVENTEENTH-CENTURY NAPLES: THE COLLECTING, DEALING AND PATRONAGE PRACTICES OF GASPARE ROOMER by Chantelle Lepine-Cercone A thesis submitted to the Department of Art History In conformity with the requirements for the degree of Doctor of Philosophy Queen’s University Kingston, Ontario, Canada (November, 2014) Copyright ©Chantelle Lepine-Cercone, 2014 Abstract This thesis examines the cultural influence of the seventeenth-century Flemish merchant Gaspare Roomer, who lived in Naples from 1616 until 1674. Specifically, it explores his art dealing, collecting and patronage activities, which exerted a notable influence on Neapolitan society. Using bank documents, letters, artist biographies and guidebooks, Roomer’s practices as an art dealer are studied and his importance as a major figure in the artistic exchange between Northern and Sourthern Europe is elucidated. His collection is primarily reconstructed using inventories, wills and artist biographies. Through this examination, Roomer emerges as one of Naples’ most prominent collectors of landscapes, still lifes and battle scenes, in addition to being a sophisticated collector of history paintings. The merchant’s relationship to the Spanish viceregal government of Naples is also discussed, as are his contributions to charity. Giving paintings to notable individuals and large donations to religious institutions were another way in which Roomer exacted influence. This study of Roomer’s cultural importance is comprehensive, exploring both Northern and Southern European sources. Through extensive use of primary source material, the full extent of Roomer’s art dealing, collecting and patronage practices are thoroughly examined. ii Acknowledgements I am deeply thankful to my thesis supervisor, Dr. Sebastian Schütze.
    [Show full text]
  • ABRAHAM BOSSCHAERT (Middelburg 1612/13 – 1643 Utrecht)
    CS0253 ABRAHAM BOSSCHAERT (Middelburg 1612/13 – 1643 Utrecht) A Still Life of Flowers laid on a Table Signed on the front edge of the table, lower right: ABosschaert On panel, 10 x 12⅝ ins. (25.5 x 32 cm) PROVENANCE Sale, Sotheby’s, London, 16 March 1966, lot 60, where bought by H. Terry-Engell Gallery, London, 1966 Gebr. Douwes, Amsterdam, 1967 Sale, Amsterdam (Paul Brandt), 20-23 May 1969, lot 3 (illustrated in colour) Kunsthandel P. de Boer, Amsterdam, September 1986 Richard Green, London P. Hoogendijk, Baarn, 1987 Private collection, the Netherlands, until 2014 EXHIBITED London, Terry Engell Gallery, Winter Exhibition, 1966-67, no. II, illustrated Delft, Oude Kunst en Antiekbeurs (Douwes), 1967, (illustrated in guide) Delt, Oude Kunst en Antiekbeurs (Hoogendijk), 1986 Maastricht, Pictura Fine Art Fair (Hoogendijk), 1987, p. 156, (illustrated in colour) LITERATURE Masters of Middelburg: exhibition in honour of Laurens J. Bol, exh. cat. by Sam Segal et. al., Kunsthandel K. & V. Waterman, B.V., Amsterdam, March 1984, p. 75, cat. no. 23 (illustrated) E. Gemar-Koeltzsch, et. al., Holländische Stillebenmaler im 17. Jahrhundert, Lingen, 1995, vol. I, p. 158, no. 50/1 NARRATIVE This still life by Abraham Bosschaert depicts a few cut flowers lying casually on a wooden table. They do not appear to be arranged in any formal sense, rather one gets the impression that they have just been freshly picked and brought indoors. A yellow iris, a red and white striped carnation and a yellow and red flamed tulip, together with a sprig of forget-me-nots, comprise this intimate floral display.
    [Show full text]