Exhibition | Wooden Sculptures, Busts, Reliquaries, and Shrines
Now on view at Pinacoteca Giovanni Züst:
Sculptures, Busts, Reliquaries, and Shrines from the Middle Ages to the Eighteenth Century
Legni Preziosi: Sculture, Busti, Reliquiari e Tabernacoli dal Medioevo al Settecento
Pinacoteca Giovanni Züst, Rancate, Switzerland, 16 October 2016 — 22 January 2017
Curated by Edoardo Villata
La mostra presenta una carrellata di sculture in legno dal XII al XVIII secolo— Madonne, Crocifissi, Compianti, busti, polittici scolpiti e persino un Presepe—provenienti da musei, chiese e monasteri del territorio ticinese, dove questi autentici capolavori sono stati oggetto di devozione e ammirazione per secoli. L’allestimento è stato curato da Mario Botta, che ha studiato, a titolo completamente gratuito, ogni dettaglio, affinché il visitatore sia immerso in un’atmosfera suggestiva e solenne, in cui la sacralità delle immagini esposte risulta pienamente valorizzata.
Edoardo Villata, Legni Preziosi: Sculture, busti, reliquiari e tabernacoli dal Medioevo al Settecento nel Cantone Ticino (Milan: Silvana, 2016), 208 pages, ISBN: 978 8836 634767, $55.
The Burlington Magazine, December 2016
The eighteenth century in The Burlington (the issue is dedicated to ‘Art in Britain’):
The Burlington Magazine 158 (December 2016)
A R T I C L E S
• Lydia Hamlett, “Pandora at Petworth House: New Light on the Work and Patronage of Louis Laguerre,” pp. 950–55.
• Jennifer Melville, “Lady Forbes of Monymusk: A Rediscovered Portrait by Joshua Reynolds,” pp. 956–60.
• Brendan Cassidy, “A Portrait by Gavin Hamilton: Sir John Henderson of Fordell,” pp. 961–63.
• Alex Kidson, “David Solkin’s Art in Britain, 1660–1815 (Paul Mellon Centre for Studies in British Art, 2015),” pp. 964–67.
L E T T E R S
• Peter Lindfield, “A Further Allusion to Strawberry Hill at Lee Priory, Kent,” p. 979.
• Nicholas Penny, “Hugh Honour,” p. 979.
R E V I E W S
• Susanna Avery-Quash, Review of Lucilla Burn, The Fitzwilliam Museum: A History (Philip Wilson Publishers, 2016), p. 980.
• Greg Smith, Review of the exhibition catalogue, Tim Barringer and Oliver Fairclough, Pastures Green & Dark Satanic Mills: The British Passion for Landscape (Giles, 2014), pp. 981–82.
• Barry Bergdoll, Review of Stefan Koppelkamm, The Imaginary Orient: Exotic Buildings of the 18th and 19th Centuries in Europe (Axel Munges, 2015), p. 982.
• Giles Waterfield, Review of the exhibition catalogue, Victoria Avery, Melissa Calaresu, and Mary Laven, eds., Treasured Possessions from the Renaissance to the Enlightenment (Philip Wilson Publishers, 2015), p. 988.
• Malcolm Bull, Review of the exhibition In the Light of Naples: The Art of Francesco de Mura (Cornell Fine Arts Museum, Rollins College, Winter Park, 2016; Chazen Museum, University of Wisconsin-Madison, 2017; The Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie, 2017), pp. 1006–07.
S U P P L E M E N T
• Tim Knox, “Recent Acquisitions (2012–16) at the Fitzwilliam Museum, Cambridge,” pp. 1017–28.
The Rumbold Desk, by an unknown craftsman from Vizagapatam, Southern India, ca. 1750–60, rosewood inlaid with ivory, silver handles, 76 × 113 × 62 cm. Accepted in Lieu of Inheritance Tax by HM Government and allocated to the Fitzwilliam Museum, 2016 (M.3–2016). This Anglo-Indian desk has been on loan to the Fitzwilliam Museum in Cambridge since 2012 and is one of the finest of a very small group of similar desks made for British patrons in India at Vizagapatam (near Madras), a centre for the manufacture of such luxurious ivory-inlaid furniture. It belonged to Sir Thomas Rumbold, 1st baronet (1736–91), a British administrator in India, who amassed a great fortune in the service of the East India Company and served as Governor of Madras from 1777 to 1780.
New Book | Claudio Francesco Beaumont
From ArtBooks.com:
Luca Fiorentino, Claudio Francesco Beaumont: L’Album di Disegni del Museo Civico d’Arte Antica di Palazzo Madama a Torino (Florence: Centro Di, 2016), 288 pages, ISBN: 978 8870 385380, €40 / $75.
Questo studio di Luca Fiorentino analizza L’Album di Disegni di Claudio Francesco Beaumont (1694–1766), artista piemontese che divenne primo pittore della corte sabauda. L’Album, composto da 309 disegni (non tutti di mano di Beaumont), entro nelle collezioni comunali del Museo Civico d’Arte Antica di Torino nel 1931, dopo essere stato conservato dall’autore stesso e in seguito dalla sua famiglia. La ricerca è suddivisa in due sezioni: il saggio critico e il catalogo, composto da schede dettagliate e redatte secondo i moderni parametri scientifici.
Exhibition | Lafayette and the Antislavery Movement
Now on view at The Grolier Club:
‘A True Friend of the Cause’: Lafayette and the Antislavery Movement
The Grolier Club, New York, 7 December 2016 — 4 February 2017
Curated by Olga Anna Duhl and Diane Windham Shaw
Although the Marquis de Lafayette is popularly known as ‘America’s Favorite Fighting Frenchman’ in the current Broadway musical Hamilton, his role as an ardent abolitionist has not received the same kind of attention as his contributions to the American Revolution. The groundbreaking exhibition A True Friend of the Cause: Lafayette and the Antislavery Movement, on view at the Grolier Club from December 7, 2016 to February 4, 2017, is designed to offer a more comprehensive look at the man who was a ‘hero of two worlds’. While Lafayette’s contributions in the areas of politics, diplomacy, and the military have received renewed scholarly and public recognition, his abolitionist activities are not widely known, nor have they been adequately explored in any major exhibition or publication in the last twenty-five years. This exhibition brings into focus Lafayette’s sustained efforts in France, the United States, and South America on behalf of the abolition of slavery.
Co-curators Olga Anna Duhl, Oliver Edwin Williams Professor of Languages, and Diane Windham Shaw, Director of Special Collections and College Archivist, Skillman Library, Lafayette College, offer a comprehensive view of Lafayette’s activities. Drawn from Lafayette College’s rich collections of 18th- and 19th-century rare books, manuscripts, paintings, prints, and objects—some of which are on public view for the first time—the approximately 130 works in the exhibition also include loans from Cornell University and the New-York Historical Society.
The Marquis de Lafayette (1757–1834) fought in the American War of Independence; was a friend to the Native Americans; defended the rights of French Protestants and Jews during the French Revolution; supported the national emancipation movements of the people of Poland, Ireland, Italy, Greece, and South America; and promoted the ideas and causes of women. Most significantly, he remained throughout his life a fervent advocate of the abolition of slavery and the African slave trade, earning the recognition of prominent British abolitionist, Thomas Clarkson, as “a true friend of the cause.” Early on, Lafayette learned that the ideals of liberty and equality during the revolutionary era hardly benefited all members of society. In fact, one of the most daunting paradoxes of that era, which became a source of reflection and action for him, was the incompatibility between the national independence of the newly formed United States and the practice of slavery and slave trade.
The exhibition traces Lafayette’s first encounters with slaves on the South Carolina coast upon his arrival in America in 1777. Highlights of his role in service with the Continental Army are revealed in his letters to his mentor, George Washington, written from Valley Forge, Newport, and Virginia during the Yorktown Campaign, where Lafayette writes of the intelligence gathered by one of his spies, James, an enslaved African American. On view is a highly significant letter written by Lafayette to Washington requesting his partnership in a venture to free slaves. Stunning French prints of the American Revolution are included, as is an influential portrait, Lafayette at Yorktown, by Jean-Baptiste Le Paon.
The impact of abolitionist ideas on Lafayette is represented by the Marquis de Condorcet’s seminal work of 1781, Réflexions sur l’esclavage des nègres, and writings of British abolitionists Thomas Clarkson and Granville Sharp. Lafayette’s decision to move forward on his own by purchasing property in French Guiana to carry out his experiment in gradual emancipation is documented by an extraordinary group of documents on loan from the Cornell University Library. Included among them is a list of the enslaved who were selected to work on the property. Maps, prints, and early travel volumes recreate the image of this South American colony.
Lafayette’s complicated story during the French Revolution includes his membership in the French Society of the Friends of Blacks. Publications of the Society are on view, as are printed versions of landmark French documents— the Declaration of the Rights of Man (1789), the French Constitution (1791), and the decree abolishing slavery in the French colonies (1794). Lafayette’s hasty departure from France in 1792 to avoid the guillotine is documented by the beautiful sword that was taken from him when he was arrested and imprisoned by the Austrians, which stands as a symbol of his personal experience with captivity. Lafayette’s return to a quiet life in France in 1800 found him still passionately committed to the antislavery movement, rejoicing when England outlawed the slave trade in 1807. Commemorative volumes and prints celebrate that milestone.
Lafayette’s last visit to America in 1824–25 was an extravagant moment in the nation’s history. The exhibition includes some of the spectacular souvenirs that were made to commemorate his visit—china, textiles, and even a clothes brush with the bristles dyed to spell “Lafayette 1825.” Lafayette’s emphasis on greeting all Americans is highlighted, including his visit to the African Free School in New York City, where he received a welcome address by an eleven-year-old student. Calligraphed and delivered by the student himself, James McCune Smith, who went on to become one of America’s first black physicians and a noted abolitionist, this text is a loan from the New-York Historical Society Library. The Farewell Tour section also documents Lafayette’s friendship with fellow antislavery advocate, Frances Wright, and his support of her gradual emancipation project “Nashoba” near Memphis, Tennessee.
Also included are letters from James Madison, Thomas Jefferson, and John Marshall, and letters from Lafayette to Albert Gallatin, William H. Crawford, Joel Poincett, and others. Even after his death in 1834, his influence continued, particularly in America, where abolitionists, both black and white, continued to cite his example. Finally, the exhibit includes special items chosen to remind us of the human face of slavery—manumission papers of a woman and a man freed by their Quaker owners; the pension records of an African American Revolutionary soldier from Connecticut; and the first American printing of the Brooks engraving of slaves tightly packed on board a slave ship. Despite the changing fortunes and conflicting reviews of his career, Lafayette has remained a compelling figure in world history, and the interest in his contributions shows no sign of diminishing.
Lunchtime Guided Tours with the Curators
December 7 and 14, January 11 and 18, and February 1, 1–2pm
Roundtable Discussion: Lafayette and the Antislavery Movement
24 January 2017, 2–3:30pm
With co-curators and moderators Olga Anna Duhl and Diane Windham Shaw and featuring panelists Laura Auricchio (The New School), François Furstenberg (Johns Hopkins University), and John Stauffer (Harvard University). Reception to follow.
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The catalogue is available from Oak Knoll Press:
Olga Ann Duhl and Diane Windham Shaw, ‘A True Friend of the Cause’: Lafayette and the Antislavery Movement (New York: The Grolier Club and Lafayette College, 2016), 76 pages, ISBN: 978 160583 0650, $40.
New Book | Venice and Drawing, 1500–1800
From Yale UP:
Catherine Whistler, Venice and Drawing, 1500–1800: Theory, Practice, and Collecting (New Haven: Yale University Press, 2016), 380 pages, ISBN: 978 0300 187731, $65.
From the time of Titian and Tintoretto to that of Canaletto and Tiepolo, drawing was an important part of artistic practice and was highly valued in Venice. This exciting new study overturns traditional views on the significance of drawing in Venice, as an art and an act, from the Renaissance to the age of the Grand Tour. Gathering together the separate strands of theory, artistic practice, and collecting, Catherine Whistler highlights the interactions and tensions between a developing literary discourse and the practices of making and collecting graphic art. Her analysis challenges the conventional definition of Venetian art purely in terms of color, demonstrating that 16th-century Venetian artists and writers had a highly developed sense of the role and importance of disegno and drawing in art. The book’s generous illustrations support these striking arguments, as well as conveying the great variety, interest, and beauty of the drawings themselves.
Catherine Whistler is senior curator of European art, Ashmolean Museum, and a fellow of St. John’s College, Oxford.
Continent Allegories in the Baroque Age: A Research Database
An introduction to the Erdteilallegorien im Barockzeitalter project and database:
Continent Allegories in the Baroque Age: A Research Database
By Marion Romberg, of the Austrian Research Project Erdteilallegorien im
Barockzeitalter in the University of Vienna’s Department of History
During the late Renaissance—around 1570—humanists developed a new ‘shorthand’ way of representing the world at a single glance: personifications of the four continents Europe, Asia, Africa and America. While the continent allegory as an iconic type had already been invented in antiquity, humanists and their artists adapted the concept by creating the four- continent scheme and standardized the attributes characterizing the continents. During the next 230 years until ca. 1800, this iconic scheme became a huge success story. All known media were employed to bring the four continent allegories into the public and into people’s homes. Within this prolonged history of personifications of the continents, the peak was reached in the Late Baroque, and especially the 18th century. As a pictorial language they were interwoven with texts, dogmas, narratives and stereotypes. Thus the project team find himself asking: What did continent allegories actually mean to people living in the Baroque age?
Notably—though not exclusively—this question is the topic of a research project on continent allegories carried out between 2012 and 2016. The project team approached the subject in a new and systematic fashion. First, a clearly defined geographic area consisting of the greater part of Southern Holy Roman Empire from Freiburg in the Breisgau to the eastern frontier of Lower Austria including Vienna was chosen; the northern limit of the study area is constituted by the Main River, the southern one by South Tyrol. Secondly, the project studied continent allegories in immovable media like fresco, stucco and sculptures within abbeys, palaces, parks and gardens, townhouses and—most importantly—in churches. The systematic survey conducted by the project team identified 407 instances of continent allegories in the south of the Holy Roman Empire. To facilitate the systematic and detailed analysis of all identified instances of continent allegories, a database was developed and is now open access: continentallegories.univie.ac.at. This database allows the use of the collection of sources for various research interests: iconography and iconology, reception of aesthetics, cultural history, social history, history of identity, history of science, etc.
Further results of this research project can be found in the in English published anthology The Language of Continent Allegories in Baroque Central Europe (Stuttgart, 2016) and in the doctoral thesis by Marion Romberg “Die Welt im Dienst der Konfession. Erdteilallegorien in Dorfkirchen auf dem Gebiet des Fürstbistums Augsburg im 18. Jahrhundert“ (Stuttgart, 2017).
Project Team, 2012–16
Prof. Dr. Wolfgang Schmale, University of Vienna, www.wolfgangschmale.eu
Dr. Marion Romberg, University of Vienna, www.marionromberg.eu
Dr. Josef Köstlbauer, University of Bremen, josef.koestlbauer@univie.ac.at
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Wolfgang Schmale, Marion Romberg, and Josef Kostlbauer, eds., The Language of Continent Allegories in Baroque Central Europe (Stuttgart, Franz Steiner Verlag, 2016), 240 pages, ISBN 978 3515 114578, 52€ / $78.
The iconography of the four continents dates back to 16th and early 17th centuries, at a time when Europe’s vision of the world was changed dramatically by discovery and conquest of the New World. Its peak of dissemination was reached in the 18th century. The late Baroque claims a special role for two reasons: first is the large number of reproductions and applications during this period, and the second is the multifaceted significance these allegories enjoyed. They could be inserted into religious and liturgical settings as well as into political language or that of the history of civilization and mankind. ‘Language’ in this sense means that the continent allegories were less the object of an art historical interpretation than being considered a formative part of religious, liturgical, political, historical, and other discourses. As pictorial language they were interwoven with text, dogmas, narratives, and stereotypes. Thus the authors of this volume inquire what the allegories of the four continents actually meant to people living in the Baroque age.
Cover image: Continent Allegories by Johann Baptist Enderle in the parish church St. Martin in Schwabmühlhausen (Germany) of 1759 (detail).
New Book | Bibliothèques, décors, XVIIe–XIXe siècle
From Éditions des Cendres and available from ArtBooks.com:
Frédéric Barbier, Andrea De Pasquale, István Monok, eds., Bibliothèques, décors, XVIIe–XIXe siècle (Paris, Éditions des Cendres, 2016), 306 pages, ISBN 978 2867 422546, $63.
La chronologie est spécifique au domaine : dans la seconde moitié du xvie et au début du xviie siècle, la bibliothèque abandonne le mobilier traditionnel des pupitres pour prendre la forme moderne d’une grande salle de travail dont les murs sont tapissés de livres. Ce modèle deviendra à son tour de moins en moins adapté, jusqu’à ce que, face à l’accroissement de la production imprimée qui se produit au xixe siècle, le principe des magasins de stockage des livres se développe et l’organisation interne de la bibliothèque se modifie. Au fil de cet espace de temps des xviie–xixe siècles, les grands courants artistiques se succèdent, du baroque au classicisme puis au néo-classique, et jusqu’à l’émergence de l’architecture industrielle.
Parallèlement, l’institution de la bibliothèque garde une charge symbolique élevée, mise en scène par le biais du décor. On connaît les somptueuses bibliothèques baroques du monde catholique, de la péninsule Ibérique à l’Allemagne méridionale, à l’Europe centrale, ou encore à l’Italie. Pourtant, d’autres modèles de décor se rencontrent, qu’il s’agisse de la France (à la Bibliothèque Mazarine) ou encore de la géographie de la Réforme protestante. À côté des exemples les plus célèbres, y compris celui de la Hofbibliothek de Vienne, les contributions présentent un certain nombre de bibliothèques historiques largement méconnues jusqu’à aujourd’hui, notamment en Europe centrale et orientale (Alba Iulia), mais aussi en Italie (avec le Palais Borromini à Rome).
Ce travail transdisciplinaire réunit les meilleurs spécialistes européens, confrontant les leçons de l’histoire générale avec celles de l’histoire de l’art, de l’histoire des idées et de l’histoire du livre et des bibliothèques. Un ouvrage placé sous la direction de Frédéric Barbier, István Monok & Andrea De Pasquale qui ont réuni à leurs côtés une équipe internationale de spécialistes de l’histoire des bibliothèques et du livre / Ample iconographie, bibliographie et index.
T A B L E D E M A T I È R E S
• Frédéric Barbier, Bibliothèques, décors, XVIIe–XXIe siècle
• Frédéric Barbier, Illustrer, persuader, servir: le décor des bibliothèques, 1627–1851
• Elmar Mittler, Kunst oder Propaganda? Bibliothekarische Ausstattungsprogramme als Spiegel kultureller Entwicklungen und Kontroversen in Renaissance, Gegenreformation, Aufklärung und Klassizismus
• Hans Petschar, Der Pruncksaal der Österreichichen Nationalbibliothek : zur Semiotik eines barocken Denkraumes
• Andreas Gamerith, Klosterbibliotheken des Wiener Umlandes: alte und neue Motive
• Michaela Seferisová Loudová, Ikonographie der Klosterbibliotheken in Tschechien, 1770–1790
• Szabolcs Serfözö, Barocke Deckenmalereien in klosterbibliotheken des Paulinerordens in Mitteleuropa
• Anna Jávor, Bücher und Fresken: die künstlerische Ausstattung von Barockbibliothecken in Ungarn
• János Jernyei-Kiss, Die Welt der Bücher auf einem Deckenbild: Franz Sigrists Darstellung der Wissenschaften im Festsaal des Lyzeums in Erlau
• Doina Hendre Biró, Le décor de la Bibliothèque et de l’Observatoire astronomique fondés par le comte Ignác Batthyány, évêque de Transylvanie, à la fin du XVIIIe siècle
• Yann Sordet, D’un palais (1643) l’autre (1648): les bibliothèque(s) Mazarine(s) et leur décor
• Fiammetta Sabba, I Saloni librari Borrominiani fra architettura e decoro
• Andrea De Pasquale, L’histoire du livre dans le décor des bibliothèques d’Italie au XIXe siècle
• Jean-Michel Leniaud, L’invention du programme d’une bibliothèque, 1780–1930
• Alfredo Serrai, I vasi o saloni librari. Ermeneutica della iconografia bibliotecaria
New Book | Artefacts of Encounter: Cook’s Voyages
From the University of Hawaii Press:
Thomas, Nicholas Thomas, Julie Adams, Billie Lythberg, Maia Nuku, and Amiria Salmond, Artefacts of Encounter: Cook’s Voyages, Colonial Collecting and Museum Histories (Honolulu: University of Hawai’i Press, 2016), 364 pages, ISBN: 978 0824 859350, $68.
The Pacific artefacts and works of art collected during the three voyages of Captain James Cook and the navigators, traders, and missionaries who followed him are of foundational importance for the study of art and culture in Oceania. These collections are representative not only of technologies or belief systems but of indigenous cultures at the formative stages of their modern histories, and exemplify Islanders’ institutions, cosmologies, and social relationships.
Recently, scholars from the Pacific and further afield, working with Pacific artefacts at the Museum of Archaeology and Anthropology in Cambridge (MAA), have set out to challenge and rethink some longstanding assumptions on their significance. The Cook voyage collection at the MAA is among the four or five most important in the world, containing over 200 of the 2000-odd objects with Cook voyage provenance that are dispersed throughout the world. The collection includes some 100 artefacts dating from Cook’s first voyage. This stunning book catalogues this collection, and its cutting-edge scholarship sheds new light on the significance of many artefacts of encounter. Published in association with Otago University Press.
New Book | Clothing Art
From Yale UP:
Aileen Ribeiro, Clothing Art: The Visual Culture of Fashion, 1600–1914 (New Haven: Yale University Press, 2017), 582 pages, ISBN: 978-0300119077, $60.
There have always been important links between art and clothing. Artists have documented the ever-evolving trends in fashion, popularized certain styles of dress, and at times even designed fashions. This is the first book to explore in depth the fascinating points of contact between art and clothing, and in doing so it constructs a new and innovative history of dress in which the artist plays a central role.
Aileen Ribeiro provides an illuminating account of the relationship between artists and clothing from the 17th century, when a more complex and sophisticated attitude to dress first appeared, to the early 20th century, when the boundaries between art and fashion became more fluid: haute couture could be seen as art, and art used textiles and clothes in highly imaginative ways. Ribeiro’s narrative encompasses such themes as the ways in which clothing has helped to define the nation state; how masquerade and dressing up were key subjects in art and life; and how, while many artists found increasing inspiration in high fashion, others became involved in designing ‘artistic’ and reform dress. Sumptuously illustrated, Clothing Art also delves into the ways in which artists represent the clothes they depict in their work, approaches which range from photographic detail, through varying degrees of imaginative reality, to generalized drapery.
Aileen Ribeiro is professor emeritus in the history of art at the Courtauld Institute of Art, London.
Netherlands Yearbook for History of Art, November 2016
Latest issue of NKJ:
Thijs Weststeijn, Eric Jorink and Frits Scholten, eds., Netherlandish Art in its Global Context (Leiden: Brill, 2016), 296 pages, ISBN: 978-9004334977, €105 / $123. [Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek 66 (November 2016)].
Netherlandish art testifies to the interconnectedness of the Early Modern world. New trade routes, the international Catholic mission, and a thriving publishing industry turned Antwerp and Amsterdam into capitals of global exchange. Netherlandish prints found a worldwide public. At home, everyday lives changed as foreign luxuries, and local copies, became widely available. Eventually, Dutch imitations of Chinese porcelain found their way to colonists in Surinam. This volume of the Netherlands Yearbook for History of Art breaks new ground in applying the aims and approaches of global art history to the Low Countries, with essays ranging from Greenland to South Africa and Mexico to Sri Lanka. The Netherlands, as a fringe area of the Habsburg Empire marked by internal fault lines, demonstrated remarkable artistic flexibility and productivity in the first period of intensive exchange between Europe and the rest of the world.
Thijs Weststeijn, PhD (2005), University of Amsterdam, is professor of art history before 1850 at Utrecht University. He chairs the research project The Chinese Impact: Images and Ideas of China in the Dutch Golden Age (2014–19).
Eric Jorink, PhD (2004), University of Groningen, is Teylers professor at Leiden University and researcher at the Huygens Institute (KNAW). He is the author of Reading the Book of Nature in the Dutch Golden Age, 1575–1715.
Frits Scholten, PhD (2003), University of Amsterdam, is senior curator of sculpture at the Rijksmuseum and holds the chair in the History of Western Sculpture before 1800 at the Universiteit van Amsterdam. He has published widely on Western sculpture and decorative arts. His most recent publication is Small Wonders: Late-Gothic Boxwood Micro-carvings from the Low Countries (Amsterdam 2016).
C O N T E N T S
• Thijs Weststeijn, Introduction: Global Art History and the Netherlands
• Nicole Blackwood, Meta Incognita: Some Hypotheses on Cornelis Ketel’s Lost English and Inuit Portraits
• Stephanie Porras, Going Viral? Maerten de Vos’s St Michael the Archangel
• Christine Göttler, ‘Indian Daggers with Idols’ in the Early Modern Constcamer: Collecting, Picturing and Imagining ‘Exotic’ Weaponry in the Netherlands and Beyond
• Barbara Uppenkamp, ‘Indian’ Motifs in Peter Paul Rubens’s The Martyrdom of Saint Thomas and The Miracles of Saint Francis Xavier
• Thijs Weststeijn and Lennert Gesterkamp, A New Identity for Rubens’s ‘Korean Man’: Portrait of the Chinese Merchant Yppong
• Ebeltje Hartkamp-Jonxis, Sri Lankan Ivory Caskets and Cabinets on Dutch Commission, 1640–1710
• Julie Berger Hochstrasser, A South African Mystery: Remarkable Studies of the Khoikhoi
• Ching-Ling Wang, A Dutch Model for a Chinese Woodcut: On Han Huaide’s Herding a Bull in a Forest
• Annemarie Klootwijk, Curious Japanese Black: Shaping the Identity of Dutch Imitation Lacquer
• Thomas DaCosta Kaufmann, The ‘Netherlandish model’? Netherlandish Art History as/and Global Art History
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