The Globalization of Netherlandish Art (FULL OPEN ACCESS, Leiden: Brill, 2024) (2025)

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Netherlandish Art and the World: A Conference on Global Art History, Utrecht, 25-27 October 2018

Thijs Weststeijn

The art of the Early Modern Netherlands was a global art in various dimensions. Paintings and prints were made for worldwide export; artists depicted foreign rarities; applied arts from Asia were imported on an industrial scale. Famous masters stood out for their interest in remote traditions, from Vermeer’s Chinese porcelain to Rembrandt’s Mughal miniatures and Rubens’s engagement with the worldwide Jesuit mission. This conference identifies and addresses some of the challenges and opportunities that Global Art History offers for the Low Countries. Participants explore how artworks were more than illustrations of the interconnectedness of the Early Modern world, with Antwerp and Amsterdam as hubs of global exchange. Everyday lives changed as foreign luxuries became a household presence. Images of real and imagined foreigners circulated on an unprecedented scale. Travelers and scholars pondered unknown iconographies, which sometimes threatened to unsettle the Eurocentric perspective. To explore this global complexity, the conference discusses painting, print, and the applied arts; materials, techniques, and styles; meaning, interpretation, and consumption; and migration, markets, and collections. An additional question is how the display and analysis of Dutch and Flemish art has developed into a worldwide phenomenon. The works’ visual language appeals to publics from Japan to Brazil. At the same time the material heritage that documents the entangled histories of the Netherlands and Asia, Africa, the Americas, and Australia is increasingly being foregrounded. What is the continuing relevance of Netherlandish art in a globalized world? The conference marks the conclusion of the NWO-funded project The Chinese Impact: Images and Ideas of China in the Dutch Golden Age at Utrecht University. See www.chineseimpact.nl.

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Thijs Weststeijn, Eric Jorink and Frits Scholten (eds.), Netherlandish Art in its Global Context (Netherlands Yearbook for History of Art

Eleonora (Ellinoor) S . Bergvelt

BMGN - Low Countries Historical Review

The subject of relations with 'the Other', whether or not in a (post)colonial context, is popular in current art history. This volume contains nine articles, preceded by an introduction by one of the editors, Thijs Weststeijn. One of his topics is the relation between China and the Netherlands, which was the theme of an exhibition he organised in the Frans Hals Museum in Haarlem in 2017. The volume ends with an article by Thomas DaCosta Kaufmann, an éminence grise of the 'geohistory of art' (the importance of geography for art and art history). The articles can be divided into four categories. Those in the first and second categories can be seen broadly as iconographical studies. The first category is concerned with the depiction of non-Europeans. One article by Nicole Blackwood is on two (lost) portraits of an Inuit man by the Dutch artist Cornelis Ketel (the man had been brought to London by the Cathay Company, which had been trying to find its way to China via the Northwest Passage). Another by Barbara Uppenkamp considers 'Indian' motifs, including human

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"Introduction: Global Art History and the Netherlands". Netherlands Yearbook for History of Art 66 (2016)

Thijs Weststeijn

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art history in Netherland

Flora Huang

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CFP: 17th-C Foreign insights on Dutch Art (Geneva 17-19/3/2022, DL: 15/9/2021))

Marije Osnabrugge, Lucie Rochard, Susanne Bartels, Angela Jager

“The Envy of some, the Fear of others, and the Wonder of all their Neighbours” Seventeenth-Century Foreign Insights on Dutch Art

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The past is always present: The image of early Netherlandish art in the long nineteenth century

Edward Wouk

Oud Holland – Journal for Art of the Low Countries

In 1881, the American collector Stephen Whitney Phoenix bequeathed to the Metropolitan Museum of Art in New York a painting by the artist Wilhelm (Guillaume) Koller (1829-1884/1885) entitled Hugo van der Goes painting the portrait of Mary of Burgundy (fijig. 1). Koller, who trained in Vienna and Düsseldorf, moved in 1856 to Belgium, where he exhibited this painting at the Brussels Salon of 1872. 1 The picture imagines an encounter between Van der Goes (ca. 1440-1482) and Mary of Burgundy (1457-1482), shown as a child seated on the lap of her young stepmother Margaret of York (1446-1503). Behind them is likely Charles the Bold (1433-1477), who married Margaret after the death of Mary's mother, Isabella of Bourbon (1434-1465). 2 Koller's painting offfered nineteenth-century audiences an appealing, if fijictional, image of an esteemed northern European artist depicting a moment in the domestic life of a noble dynasty closely identifijied with the history and heritage of Belgium. 3

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In search of Netherlandish art. Cultural transmission and artistic exchanges in the Low Countries, an introduction

Filip Vermeylen

This article forms the introduction of a special volume of De Zeventiende Eeuw entitled 'Art on the move', published in 2015. It puts the case studies presented in this issue into a broader theoretical perspective, highlights connections and differences, and puts forward new research questions.

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Marlise Rijks

2016

https://hnanews.org/hnar/reviews/moving-pictures-intra-european-trade-images-16th-18th-centuries-studies-european-urban-history-1100-1800-34/

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Anthony Grafton and Thomas DaCosta Kaufmann, “Holland without Huizinga: Dutch Visual Culture in the Seventeenth Century,” Journal of Interdisciplinary History 16:2 (Autumn 1985): 255–265

Anthony Grafton

No great paintings tantalize the onlooker more than the Dutch interiors of the seventeenth century. Skulls and bookbindings gleam, floors and windows glow, men with paintbrushes and women with brooms stare out at us. Are we being shown the Dutch world as it really was? Taught a moral? Told a story? The paintings offer few obvious clues. Yet their loving, minutely accurate reproductions on canvas and panel of the tiniest details of the three-dimensional world continue to fascinate museum visitors and provoke historians and critics.

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On the reception of Netherlandish art in late eighteenth-century classicist aesthetics

Wouter Soudan

2005

The Quarrel of the Ancients and the Moderns — The patriotic argument — The concept of nationality as an art historical tool — Classicist idealism versus Netherlandish naturalism — Classicist line over Dutch colour — Antique mythology makes no excuse — An academic ‘cold war’ — Dutch classicism? — Dutch visionary naturalism as a Romantic interpretation — Proper use of terminology

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The Globalization of Netherlandish Art (FULL OPEN ACCESS, Leiden: Brill, 2024) (2025)

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