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Dick, Christina Sorrell. "The mother in seventeenth-century Dutch art." Birmingham, Ala. : University of Alabama at Birmingham, 2009. https://www.mhsl.uab.edu/dt/2009m/dick.pdf.
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COHEN, MARGARET WINTERS. "A NEW TRADITION: JEWISH PORTRAITURE IN SEVENTEENTH-CENTURY AMSTERDAM." University of Cincinnati / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1054309065.
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Kelly, Anthony. "Functions of the comic in seventeenth-century Dutch art." Thesis, University College London (University of London), 2007. http://discovery.ucl.ac.uk/1446440/.
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This thesis examines how comic images are used in Dutch Golden Age art. No comprehensive study of this subject exists, in spite of the fact that comic themes and tropes are widely used by Dutch artists, as part of a culture which enjoyed but also valued humour for its rhetorical, instructional and therapeutic utility. Referring to recent scholarly interest in the field of comic culture, and using an interdisciplinary approach combined with iconographic analysis, comic elements in the images are examined in the context of wider comic culture including comedy, farce, rogue literature and joke books, and in relation to the tastes and the ideology of the burgher class, as well as to contemporary notions of wit or geestigheid in art. These investigations are related to major theories of the comic. Particular areas examined are the comic representation of peasants, merry companies, stereotypical characters and situations, and the archetypal relationship of the trickster and the dupe which was the essence of farce. This reveals the strength of traditional tropes and stereotypes involving folly, deception and concealment, modernised to provide a pictorial 'comedy of manners' for the burgher class, who also purchased comic images evoking differentiation and social exclusion. One conclusion is that comic themes in Dutch art should be considered within the long sixteenth century. Another is the value of the application to paintings of a social and anthropological theory of the comic as expression of symbolic social structure, experienced through behaviour codes, which sees it as always significant, being a means of communication within a group or culture, and never value-free even when no didacticism is apparent. This can help to illuminate important art-historical debates such as those involving the relationship between amusement and instruction, meaning and ambiguity, and questions of reception and spectatorship.
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Gavaghan, Kerry Lynn. "The family picture : a study of identity construction in seventeenth-century Dutch portraits." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:1a2cf152-3f13-4e76-8c73-b57ef5be2463.
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The seventeenth century saw a large increase in family-related portrait materials, including group family portraits, family portrait collections, and family memorial albums. In this thesis, I contend with the meanings and functions of family portraits created in the Netherlands in an attempt to illuminate the motives behind the rise in the number of portraits of the family during this period. I focus on the ways in which Dutch families utilised portraiture as a vehicle for constructing personal and national identity. In an age of extraordinary economic success, religious tension, and political upheaval, portraits of the members of the expanding Dutch ‘middle class’, who had the means and the desire to commission them, reveal a conscious inclination to define and substantiate a fashioned identity as the new urban elite of a Republic in the making. My study assesses family portraits as sites where identity and changing notions of selfhood were envisioned and performed. The shifting notions of ‘family’, and the increasing popularity of commissioning portraits seems to signal attempts to configure and imagine their relationship to Dutch society. I propose that the amount of portraits related to the family commissioned alongside an exploration of and struggle with identity is a symptom of the anxiety surrounding politics, religion, and social changes, for which the family often served as a metaphor. New perspectives on portrait theory and identity, especially those of Ann Jensen Adams and Joanna Woodall, contributed to the shaping of this thesis, particularly as a means to comprehend how portraits functioned in the lives of families. There are four chapters that make up the body of this thesis. In each chapter, I focus on specific works of art chosen for their suitability in highlighting certain concepts and anxieties about identity and the family in its cultural context at their extremes.
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Richardson, Elaine M. "Portraits-within-Portraits: Immortalizing the Dutch Family in Seventeenth-Century Portraits." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1212088663.
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Ruddock, Joanna Mavis. "Dutch artists in England : examining the cultural interchange between England and the Netherlands in 'low' art in the seventeenth century." Thesis, University of Plymouth, 2017. http://hdl.handle.net/10026.1/8632.
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The seventeenth century was an incredibly fascinating time for art in England developmentally, especially because most of the artists that were receiving the commissions from English patrons and creating the art weren’t English, they were Dutch. Over this one hundred year period scores of Dutch artists migrated over from the Dutch Republic and showed England this Golden Age of painting that had established Dutch artists back in the Netherlands as pioneers in their line of work. In studies of Anglo-Dutch art, portraiture is a genre that has been widely researched; Peter Lely (a Dutch-born portraitist) is one of many widely acclaimed artists of this genre; comparative to many of the artworks and artists chosen for this research. Generally Anglo-Dutch relations, politically, economically, religiously and of course culturally there was, during the seventeenth century, so much going on between these two nations. Did this intense ever-changing relationship have an impact on that the other ‘low’ genres of art that was produced throughout this century? This research involves understanding and thinking about the impact of the cultural exchange that took place between England and the Netherlands in the seventeenth century on ‘low’ art – marine, landscape and still life painting. This research entails thinking about the origins of these genres as well as looking at individual paintings on a detailed basis and understanding how this cultural interchange manifests and translates itself through visual motifs – objects (large and small), stylistic characteristics and theme of the painting. Various themes and interpretations - in particular iconography and iconology, descriptive versus narrative art and national identity - have been explored and considered in order to gain a comprehensive understanding of the literature that already exists for this art in an effort to consider something new but to also interpret the paintings in a different way – this research has considered these paintings through the visual elements and has explained the cultural significance they provide.
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Cartwright, Ingrid. "Hoe schilder hoe wilder: [electronic resource] Dissolute Self-Portraiture in Seventeenth-Century Dutch and Flemish Art /." College Park, Md.: University of Maryland, 2007. http://hdl.handle.net/1903/7720.
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Thesis (Ph. D.) -- University of Maryland, College Park, 2007.<br>Thesis research directed by: Dept. of Art History and Archaeology. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Hoffman, Haley Marie. "“The Dutch Found Us And Relieved Us…” Identifying Seventeenth Century Illicit Dutch Trade Relations On Virginia’s Eastern Shore And In The Chesapeake." W&M ScholarWorks, 2020. https://scholarworks.wm.edu/etd/1616444481.
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This study explores how illicit transatlantic trade relations with the Dutch in seventeenth-century Virginia can be identified through the material record. The research was motivated by recent excavations at a seventeenth-century plantation on Virginia’s Eastern Shore. Eyreville, as it is now known, was a hub of transatlantic trade during the formative years of the Virginia colony. The recognizable presence of Dutch trade goods, coupled with the site’s pro-Dutch merchant residents, prompted the investigation into material signatures of illicit trade on the Eastern Shore and the Chesapeake. The identification of these material signatures is based on extensive research into geopolitical histories, trade networks, the production and distribution of trade goods, and archaeological evidence. This is achieved through the lens of network analysis and structuration theory. Combined with a rich documentary record, archaeological and artifactual analysis illuminates the effects of European globalization, specifically conflicts such as the War of Three Kingdoms from 1642-1649, and regulations such as those imposed through the British Navigation Acts and by the Dutch West India Company. Considering the complexity of this historical context and the modes of analysis involved, a multiscalar approach/perspective is key to discerning how these trade relations occurred.
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Leach, Samuel, and sleach@ozemail com au. "The Value of Wealth: Representing Contemporary Corporate Space." RMIT University. Art, 2009. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20091021.124940.
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The objective of my research is to develop a body of work for exhibition based on an examination of the ways that corporate space, as exemplified by the foyers and conference rooms of contemporary corporate offices, reflect societal anxieties about wealth and power. These works will draw on the history of painting, with particular reference to 17th century Dutch still life painting, as a framework within which to conduct the exploration of contemporary space. This will be done by applying or interpreting the principles, motifs and techniques used in that period in the visual representation of the connection between wealth and decadence and western culture's ambiguous attitude towards the creation and accumulation of wealth. Boardrooms, corporate foyers and office interiors have developed into instantly recognisable types of space with a particular atmosphere, typified by large empty space and the use of materials such as marble and granite and surfaces with reflective finishes.. These spaces are often open to the public, but the intention is for people to be impressed by the wealth and power of the occupants, an idea initially perfected in Ancient Rome. The impression of wealth and power created in these spaces is balanced against a need to demonstrate prudence and restraint - the corporations need to avoid creating an impression of extravagance or wastefulness. The emergence of the genre still life painting in the Netherlands during the 17th century provides useful source material for their representations of restrained prosperity as well as the moral content related to the virtues of modesty and the transience of material life and wealth. The illusory space in the church interiors of Saenredam and de Witte, with their sense of expansive space and light, are echoed in the real space of contemporary corporate foyers and provide a basis for considering the format, composition and modes of representation of constructed space.
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Labuschagne, Emily. "Masters, master, masturbate (a master's debate) - relooking at the home, body and self through seventeenth century Dutch still life painting." Master's thesis, Faculty of Humanities, 2020. http://hdl.handle.net/11427/32716.
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The still life genre has been, and arguably still is, regarded as the lowest form of painting in Western fine art history. The absence of the human figure in still life painting means that the artist does not require knowledge of either human anatomy or history for the production of the work. Given seventeenth century female painters' exclusion from the academies where anatomy was taught, it was thus a genre regarded as appropriate for female painters in Europe prior to the nineteenth century. Such dictates of propriety were indicative of gender constructs that relegated women to the private sphere of society and the domestic environment. As an accompaniment to my Masters in Fine Art exhibition titled Masters, Master, Masturbate (A master's debate), this text explores what still life painting may reveal about the relationship between the home, the body and the self in the present day. Produced from my position as a contemporary, white, female painter of Dutch descent raised within an Afrikaner culture in the context of South Africa, I suggest that a critical reconsideration of this apparently constrictive genre offers potentially liberating perspectives of gender constructs and the female painter.
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STRASBAUGH, CHRIS. "CALL TO ACTION: THE ROLE OF RELIGIOUS PAINTING IN UTRECHT'S GOLDEN AGE (1590-1640)." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1177423292.
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Wikrén, Maria. "Att förmedla eller förnöja? : En diskursanalytisk studie av debatten kring förekomsten av moraliska budskap i holländsk 1600-talskonst." Thesis, Linköpings universitet, Institutionen för kultur och kommunikation, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-91088.
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Uppsatsen undersöker den konstvetenskapliga diskussionen angående rimligheten i att läsa in moraliska budskap i holländsk genrekonst från 1600-talet. Detta görs utifrån en diskursanalytisk metod med fokus på textanalys. De texter som behandlas är skrivna av konsthistoriker under 1980- och 1990-talet och belyser tolkningsfrågan ur olika synvinklar.<br>This thesis investigates the art historical debate about whether or not it is reasonable to assume the presence of moralistic messages in Dutch seventeenth-century genre art. The study is conducted according to a discourse analytical method with emphasis on textual analysis. The texts chosen for analysis were written during the 1980s and 1990s by art historians who advocate different standpoints.
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Meadows, Anne. "Collecting seventeenth-century Dutch painting in England 1689-1760." Thesis, University College London (University of London), 1988. http://discovery.ucl.ac.uk/1382491/.
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This thesis examines the collecting of seventeenth century Dutch painting in England from 1689 marking the beginning of auction sales in England to 1760, Just prior to the beginning of the Royal Academy and the rising patronage for British art. An examination of the composition of English collections centred around the period 1694 when William end Mary passed a law permitting paintings to be imported for public sale for the first time in the history of collecting. Before this date paintings were only permitted entry into English ports for private use and enjoyment. The analysis of sales catalogues examined the periods before and after the 1694 change in the law to determine how political circumstances such as Continental wars and changes in fiscal policy affected the composition of collecting paintings with particular reference to the propensity for acquiring seventeenth century Dutch painting in England. Chapter Two examines the notion that paintings were Imported for public sale before 1694, and argues that there had been essentially no change In the law. It considered also Charles It's seizure of the City's Charters relaxing laws protecting freemen of the Guilds from outside competition, and the growth of entrepreneurauctioneers against the declining power of the Outroper, the official auctioneer elected by the Corporation of City of London. An investigation into the Poll Tax concluded that the boom in auction sales was part of the highly speculative activity which attended Parliament's need to borrow public funds to continue the war with France. Chapter Three discusses some of the economic circumstances In the Dutch-English alliance in 1689 which helped to establish the financial infrastructure supporting the importation and acquisition of paintings. A comparative analysis of subject matter in Dutch collections showed en increase in the production of landscape painting in particular which was In turn reflected fri English collections. The experimental procedure in Chapter Four Involved a detailed analysis of auction sales for the period 1689-1694 and drawing on the evidence provided in the previous chapters showed that the propensity to collect seventeenth century Dutch painting dominated collecting, and it was available in large numbers by Dutch artists working in England and by Dutch artists abroad. Chapter Five covers the period after 1695 to 1760 using random sampling of annotated sales catalogues (1711 to 1759) illustrating the effect of increased trade on the composition of collecting, demonstrating that marginally cheaper prices for Dutch landscapes, portraiture and genre painting challenged the growing taste for Italian or French landcapes, genre and religious and classical history painting. Dutch painting as an Investment Is also considered. This thesis contributes to the knowledge of prices paid for paintings for the period 1711-1759 through statistical analysis. Summaries of the average price paid for seventeenth century Dutch and other European paintings provide a scale to analyse prices often quoted In eighteenth century art historical studies. These summaries illustrate more precisely that paintings at auction sales were generally low in price providing a benchmark figure, which manipulated the market to the extent that paintings by living British artists were unable to compete.
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Gherke, Michael E. "Dutch women in New Netherland and New York in the seventeenth century." Morgantown, W. Va. : [West Virginia University Libraries], 2001. http://etd.wvu.edu/templates/showETD.cfm?recnum=2233.
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Thesis (Ph. D.)--West Virginia University, 2001.<br>Title from document title page. Document formatted into pages; contains viii, 288 p. : ill. Includes abstract. Includes bibliographical references (p. 271-288).
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Richardson, Elaine May. "Portraits within portraits immortalizing the Dutch family in seventeenth-century portraits /." Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1212088663.
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Thesis (M.A.)--University of Cincinnati, 2008.<br>Advisor: Diane Mankin. Title from electronic thesis title page (viewed Feb. 24, 2010). Includes abstract. Keywords: Family Portraits; Dutch; Seventeenth Century; Jan Miense Molenaer; Jacob Ochtervelt; transience; harmony; prosperity. Includes bibliographical references.
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van, der Velde Adrian T. "Allies to Enemies: Popular Xenophobia During the Seventeenth Century Anglo-Dutch Wars." Wright State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=wright1464439960.
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Pousao-Smith, Maria-Isabel. "Concepts of brush-work in the Northern and Southern Netherlands in the seventeenth century." Thesis, Courtauld Institute of Art (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.265775.
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Morris, Anita Boyd. "Images of debauchery the prodigal son's revels in Netherlandish art of the sixteenth and seventeenth centuries /." Diss., Restricted to subscribing institutions, 2010. http://proquest.umi.com/pqdweb?did=2023814011&sid=2&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Shields, Amy Heather. "The influence of Dutch and Venetian political thought on seventeenth-century English republicanism." Thesis, University of Newcastle upon Tyne, 2017. http://hdl.handle.net/10443/3840.
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This thesis explores the engagement of seventeenth-century English republican thinkers, namely John Milton, James Harrington, Marchamont Nedham, Henry Neville and Algernon Sidney, with Dutch and Venetian models, theories, and experiences of republicanism. It challenges J.G.A. Pocock and Quentin Skinner's approach of tracing the origins of political ideas back to the ancient world and instead develops Franco Venturi’s emphasis on the significance of contemporary models to the development of early-modern republicanism. Chronologically the focus is c. 1640-1683 when republican ideas were at their height in England. In spatial terms, however, the approach is broader than traditional accounts of English republicanism, which tend to tell a purely national story. By adopting a transnational perspective this thesis promises to highlight the continuities and points of conflict between different republican thinkers, and in doing so challenges the idea of a coherent republican tradition. It suggests that narrowly defined and distinct definitions of republicanism do not capture the nuances in English republican thought, and that these thinkers engaged with various understandings of republicanism depending upon contextual political circumstances. The thesis looks at three significant themes. The first is the role of single person rule, an issue which has come to dominate discussions of English republicanism. By examining the ways in which English republicans understood the Dutch and Venetian models, both of which included an individual figurehead within a republican constitution, this thesis suggests that existing historiography places too much emphasis on 1649 as a turning point in English republican thought. Building on this discussion of non-monarchical government, the thesis then explores the constitutional proposals advocated by English republicans. It demonstrates that Venice was actually much less broadly admired and utilised for its constitutional model than has previously been assumed, and that in fact it was the Dutch Republic with which comparisons were more readily drawn. Finally, the thesis delineates a shift towards the end of this period. Post-Restoration, constitutional modelling was largely rejected in favour the practical experiences of the Dutch and Venetian Republics; the strengths, wealth and successes of which demonstrated, to these writers at least, the superiority of republican government over the existing form of monarchy in England.
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Taschian, Helen. "Naturalism and Libertinism in Seventeenth-Century Italian Painting." Thesis, University of California, Santa Barbara, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3612041.
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<p> The work of Caravaggio, which was recognized as revolutionary in his own time and exerted a profound influence on seventeenth century painting all over Europe, has prompted a wide range of interpretations among modern art historians. Some, emphasizing the controversy generated by his religious pictures, have seen him as a daringly irreverent artist, while others have found his unidealized "naturalistic" style fundamentally well-suited to the spirit of the Catholic Counter-Reformation. Some detect a boldly overt homoeroticism in many of his pictures, while others claim not to see it at all. Some understand him to have worked in an unprecedentedly direct, almost visceral way, while others emphasize his sympathy with new directions in the sciences or the intellectual sophistication with which he played his naturalistic style against the precedents of classical and earlier Renaissance art. </p><p> Caravaggio's difficult personality has also lent itself to different readings. Some see him as a sociopath, if not a psychopath, while others see him calculatedly performing the role of social rebel in a manner that looks forward to the self-consciously dissident posturings of modern artists. Some art-historians have been led to conclude that he had highly-developed non-conformist values and tendencies that could be described as "libertine" in at least some of the varied senses in which that word was used during his time. </p><p> The aim of this dissertation is to discuss the relation of Caravaggio's work and personal example to his immediate art-historical and cultural context, but also to trace their influence on an ever-more-disparate group of artists active in the seventeenth century in order to see whether his style, sometimes characterized as "Baroque Naturalism," actually implied a set of values beyond its efficacy as an artistic strategy, whether a commitment to it implied or was understood to imply a non-conformist or libertine orientation that might be a matter of deep conviction on the part of the artist or a position felt to be appropriate to certain themes or in certain contexts. </p><p> The first chapter examines Caravaggio himself, while the second discusses three artists—Giovanni Baglione, Orazio Gentileschi, and Guido Reni—who knew him personally and responded to his work as it burst so dramatically on the scene in the very first years of the century. The third chapter discussed three artists who were active shortly afterward, whose engagement with Caravaggio testifies to a wider field of influence: Valentin de Boulogne, Domenico Fetti, and Guido Cagnacci. The final chapter sets two very different artists—Salvator Rosa and Nicolas Poussin—side by side in order to expose both the radically different responses to Caravaggio's legacy and the diverse senses in which the word "libertine" must be understood. </p><p> While the evidence does seem to suggest that at least some artists utilized Caravaggesque naturalism in order to invoke a well-defined "alternative tradition," one that was understood to imply a certain range of values, very few committed themselves to his approach strictly or for very long. Poussin rejected it emphatically. Yet Poussin, too, deliberately positioned himself on the margins of the Roman art world in order to cultivate a distinctive approach to art, one that seems to have been consciously based on deeply-held philosophical convictions. The lesson seems to be that Caravaggio's example made it possible for later artists to develop strategies with which to express their dissent from the prevailing values and practices of their time, and that even if their work did not look like his, they were indebted to him.</p>
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Levitt, Ruth L. "Cuyp's cattle : aesthetic transformations in Dutch 17th-century art." Thesis, University College London (University of London), 1990. https://kclpure.kcl.ac.uk/portal/en/theses/cuyps-cattle-aesthetic-transformations-in-dutch-17thcentury-art(b4f9c421-cfd9-4221-aae2-54ed218b139f).html.
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This study investigates the depiction of cattle by the Dutch painter Aelbert Cuyp (1620-91). It seeks to identify possible reasons for his choices of subject-matter and to trace the implications- for subsequent taste. Origins of the Dutch 17th-century veestuk (cattle piece) can be found in artefacts and writings of many earlier cultures, in which cattle images served mythological, religious, instructional and other functions. The real and symbolic importance of Dutch cattle husbandry and dairy farming contributed further significance to this iconography, and in Cuyp's day the 'Dutch cow' was recognised as a patriotic emblem for the politically independent and economically successful United Provinces. Analysis of the colours and condition of contemporary cattle and of farming practices suggests there were evident differnces between the subjects as Cuyp depicted them and the actuality from which he derived his compositions. This prompts a reconsideration of claims, that 'realism' is the prime character of Cuyp's art. It is proposed that Cuyp adopted a deliberately selective and idealised vision, representing rural subjects in nostalgic terms. Aspects of the intricate interrelationship between observable actuality and pictorial invention are exposed by attending to the cultural imperatives that informed and were informed by the pictures. Cuyp's works not only exploited estab1ished associations to images of cattle but also carried moralising, pietistic and entertaining messages, similar to those found in still-life and genre subjects, whose meaning has become lost to modern observers. Cuyp seems to have worked entirely for a local clientele, and, since Dordrecht was not an agricultural centre, explanations of the appeal of his cattle images are sought in that community's prevailing patrician and burgerlijk attitudes and beliefs about rural subjects. It is argued that his paintings, rather than being regarded as neutrally descriptive reflections of local conditions, were valued both for their illusionistic naturalism and for their underlying meanings. Cuyp's posthumous reputation in Dordrecht and subsequent influence are examined in the light of these aesthetic transformations.
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Povey, Deborah. "Seen through a glass darkly : a study of Netherlandish imagery from the fifteenth to the seventeenth centuries." Thesis, University of Essex, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.238754.
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Hollewand, Karen Eline. "The banishment of Beverland : sex, Scripture, and scholarship in the seventeenth-century Dutch Republic." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:3e5a54dc-0664-46eb-8625-de3c480d118c.
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Hadriaan Beverland (1650-1716) was banished from Holland in 1679. Why did this humanist scholar get into so much trouble in the most tolerant part of Europe in the seventeenth century? In an attempt to answer this question, this thesis places Beverland's writings on sex, sin, Scripture, and scholarship in their historical context for the first time. Beverland argued that lust was the original sin and highlighted the importance of sex in human nature, ancient history, and his own society. His works were characterized by his erudite Latin, satirical style, and disregard for traditional genres and hierarchies in early modern scholarship. Dutch theologians disliked his theology and exegesis, and hated his use of erudition to mock their learning, morality, and authority. Beverland's humanist colleagues did not support his studies either, because they believed that drawing attention to the sexual side of the classics threatened the basis of the humanist enterprise. When theologians asked for his arrest and humanist professors left him to his fate, Dutch magistrates were happy to convict Beverland because he had insolently accused the political and economic, as well as the religious and intellectual elite of the Dutch Republic, of hypocrisy. By restricting sex to marriage, in compliance with Reformed doctrine, secular authorities upheld a sexual morality that was unattainable, Beverland argued. He proposed honest discussion of the problem of sex and suggested that greater sexual liberty for the male elite might be the solution. Beverland's crime was to expose the gap between principle and practice in sexual relations in Dutch society, highlighting the hypocrisy of a deeply conflicted elite at a precarious time. His intervention came at the moment when the uneasy balance struck between Reformed orthodoxy, humanist scholarship, economic prosperity, and patrician politics, which had characterized the Golden Age of the Dutch Republic, was disintegrating, with unsettling consequences for all concerned. Placing Beverland's fate in this context of change provides a fresh perspective on the intellectual environment of the Republic in the last decades of the seventeenth century.
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Staffell, Clare Elizabeth. "Lion and dog fight : images of the Anglo-Dutch wars of the seventeenth century." Thesis, University of Cambridge, 2001. https://www.repository.cam.ac.uk/handle/1810/272297.
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Bergin, Emma Theresa. "The revolution of 1688 in Dutch pamphlet literature : a study in the Dutch public sphere in the late seventeenth century." Thesis, University of Hull, 2006. http://hydra.hull.ac.uk/resources/hull:6741.
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This thesis examines the pamphlet literature published in the Dutch Republic during the period surrounding the Glorious Revolution of 1688. Although the Dutch side of the Revolution has been afforded significant attention in recent years, writing on the subject has focused largely on assessing the motivation of William III and the Dutch regents in taking the decision to intervene in England, or on considering how particular groups responded to the events of 1688-89. This study provides a broader perspective, analysing the pamphlet literature published in the Dutch Republic between 1685 and 1689 in reference to Habermas' theory of the public sphere. Through rigorous content analysis of the pamphlet literature, this thesis examines and quantifies the main subjects of interest to the Dutch public, both within a given year and over time, as well as evaluating the information and commentary available to them. Particular focus is placed on the nature of the public debate concerning England, in order to assess Dutch views and opinions of the English situation. The main source used is the Knuttel collection of Dutch pamphlet literature in the Royal Library at The Hague, the largest and most extensive collection in the Netherlands. The Dutch Republic had a broadly accessible public sphere in the seventeenth century, in which political and religious matters were debated relatively freely and widely via the pamphlet medium. During the 1685-1689 period, a wide range of domestic and international issues were addressed in the pamphlet literature. The Dutch public had access to a variety of information sources including official documents, news reports, polemic, propaganda and graphic prints. Dutch interest in English domestic affairs reached its peak in the 1688-89 period, prompted by the translated works of British authors and unidentified anti-Stuart propagandists, which significantly influenced Dutch views of the English situation in the lead up to William's expedition. Dutch pamphleteers gave overwhelming support to William's intervention in England, which was regarded as a defensive measure designed to safeguard Europe's Protestant religion and liberties. However, the Dutch public quickly lost interest in English affairs from 1690 onwards.
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Frederick, Amy Reed. "Rembrandt's Etched Sketches and Seventeenth-Century Print Culture." Case Western Reserve University School of Graduate Studies / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=case1390500621.
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Van, Meersbergen G. A. M. "Ethnography and encounter : Dutch and English approaches to cross-cultural contact in seventeenth-century South Asia." Thesis, University College London (University of London), 2015. http://discovery.ucl.ac.uk/1461328/.
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This thesis explores the intersections between Dutch and English East India Company (VOC and EIC) enterprise and early modern ethnography. Scholarship concerning both Companies has focused principally on the socio-economic side of Euro-Asian exchanges. In doing so, existing literature has failed to address the importance of ethnographic assumptions in shaping the worldviews of overseas agents. This study suggests a novel way of writing the cultural histories of these commercial-cum-political bodies from a comparative, transnational, and interdisciplinary perspective. It analyses VOC and EIC archives for what they reveals about perceptions of Others, categories of human difference, and approaches to cross-cultural interaction. Each of the three case studies examines a different aspect of Dutch and English involvement in cross-cultural contact in seventeenth-century South Asia – commercial dealings in Gujarat, diplomatic interactions at the Mughal court, and colonial encounters in Ceylon and Madras, respectively. A survey of the principal concepts and categories which structured early modern European ethnographic analyses precedes these discussions. Cultural assumptions about Asian peoples shaped Dutch and English enterprise in South Asia long before the advent of European imperialism. This thesis explores the indebtedness of Company writing to Renaissance ethnography, explains how cultural prejudice and distrust buttressed maritime aggression and fortification policies, and traces how new forms of discrimination based on skin colour became anchored in colonial governance. It also shows how VOC and EIC agents acculturated to their host environment in profound ways. Diplomacy involved adaptation to and incorporation into Mughal imperial culture. Commerce benefited from quotidian social interactions. Colonial governance drew on native participation and South Asian political traditions. While seventeenth-century cross-cultural contact should thus be understood within a power configuration that compelled Europeans to adapt, the way in which Company agents employed ethnographic concepts also points at discursive continuities with later imperial ideologies.
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Otomo, Ayako. "Art, music and the harpsichord in seventeenth- and eighteenth-century France /." [St. Lucia, Qld.], 2005. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe18614.pdf.
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Pittman, William E. "Morphological Variability in Late Seventeenth and Early Eighteenth-Century English Wine Bottles." W&M ScholarWorks, 1990. https://scholarworks.wm.edu/etd/1539625576.
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Finn, Claire P. "The material culture of drinking and the construction of social identities in the seventeenth-century Dutch Republic." Thesis, University of Sheffield, 2014. http://etheses.whiterose.ac.uk/7880/.
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After gaining their independence, the seventeenth-century Northern Netherlands experienced a Golden Age of wealth and prosperity. However, there was not yet a sense of national unity, and changes in society, politics, wealth and world view all created flux in identity. Drinking was both a fundamental and yet also highly charged activity, taking place in the home, taverns, and at events such as weddings. Playing a vital role in hospitality and community bonding, drinking became an important activity in the communication of developing identities, affiliations and Dutch national feeling. This thesis examines material culture gathered from domestic cesspits dating between 1500 and 1800 from across the Dutch Republic, to determine which aspects of identity may have been communicated through drinking vessels. Archaeological assemblages of vessels were used to create status profiles, a method of comparing artefact groups to identify the status of the household. The quantities of high quality glassware proved to be the most diagnostic feature of status until the eighteenth century when ceramics became more highly sought. Different types of sites, like hospitals and taverns, also presented a distinct profile of material. Regional differences in drinking practice, however, were not found to be distinct, with wealth, status and era having more effect. Vessels and drinks were tied up in a system of conspicuous consumption, status and display, which could be both desirable and dangerous. Vessels and drinking were used to create ceremonies of hospitality and inclusion, or to promote regional pride, or make politico-religious criticism. Vessels were personalised for gift giving, or to display status and belonging through heraldry, names or symbology. Vessels, including glass, earthenware and porcelain, also held a didactic function, warning of the dangers of excess and luxury, and promoting moral decency and domestic harmony, particularly for women. These behaviours, combined with the use of Dutch imagery, helped to confirm a new sense of national unity.
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Martin, Margot. "Essential agréments : art, dance and civility in seventeenth-century French harpsichord music /." Ann Arbor : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb37103563h.
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McLaughlin, Pegeen Amy. "Exploring current approaches to status variability in the seventeenth century Chesapeake." W&M ScholarWorks, 1996. https://scholarworks.wm.edu/etd/1539626034.
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Rankin, Deana Margaret. "The art of war : military writing in Ireland in the mid seventeenth century." Thesis, University of Oxford, 1999. http://ora.ox.ac.uk/objects/uuid:bd3cb104-bc7a-49b1-981c-d3fbecb3819e.
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'The Art of War' studies the transition of the soldier from fighter to settler as it is reflected in the texts he produces. Drawing on texts written by soldiers, in English, between c. 1624 and 1685, it focuses on representations of events in Ireland from 1641-1655, that is to say, during the Catholic Confederation and the Cromwellian campaigns and settlement. The focus and methodology of the thesis seek to restore a more literary reading of seventeenth century texts from, and about, Ireland to the current vibrant historical debate on the period. It argues that the writings of the Old Irish, Old English, New English, and Cromwellian soldiers in Ireland draw on a variety of literary influences – the traces of Guicciardini and Machiavelli, Sidney and Spenser are clear. It also charts shifts in the genres of military writing from professional handbooks, to documents of civil policy, to romance, poetry, and the theatre. In doing so, it addresses the literary tools which the soldier-writer uses to define the self within a complex network of political, national, religious, and personal allegiances. The thesis is divided into three parts. The first, chapter one, explores the trafficking of military images between military handbook and literary text. It pays particular attention to Ireland as a borderland for the European Wars and the English colonial enterprise. The second part, comprising three chapters, examines three different perspectives on the Irish Wars. The first, that of the Old English writer Richard Sellings; the second, that of the anonymous Aphorismical Discovery; the third begins with a view of the 'Irish enemy' from England, as it is constructed and enforced in the pamphlet literature of the Civil War period, and ends with the perspective of Richard Lawrence, a Cromwellian soldier-turned-settler in the early 1680s. The third part, the fifth and final chapter, explores the controversies surrounding recent Irish history as they are played out in the wake of the Exclusion Crisis. This is followed by a brief conclusion.
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Lees, Linda Jane. "'Thou art a verie baggadge' : gender and crime in seventeenth-century Nottinghamshire and Staffordshire." Thesis, Nottingham Trent University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.302523.
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Thompson, Ann. "The art of suffering : an examination of one aspect of seventeenth-century practical theology." Thesis, University of Cambridge, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.627425.
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Walker, Kathleen. "Chasing the Dragon's Tale: Europe's Fascination and Representation of the Dragon from the Twelfth to the Seventeenth Century." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1437605968.
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Hagglund, Sarah. "The Myth of Bologna? Women's Cultural Production during the Seventeenth Century." Kent State University Honors College / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1620502410389001.
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Lillehoj, Elizabeth Ann. "The art of Soga Chokuan and Nichokuan, two painters of sixteenth and seventeenth-century Japan." Ann Arbor : UMI, 1993. http://catalog.hathitrust.org/api/volumes/oclc/51344711.html.
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Schaller, Wendy M. "Children borne aloft : Nicolaes Maes's Ganymede Portraiture and the context of death and mourning in the seventeenth-century Netherlands /." The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486401895207345.
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Dew, Cathryn. "'Passion and persuasion' : the art of rhetoric and the performance of early seventeenth-century solo sonatas." Thesis, University of York, 1999. http://etheses.whiterose.ac.uk/2475/.
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Brown, David Arthur. "An Enslaved Landscape: The Virginia Plantation at the End of the Seventeenth Century." W&M ScholarWorks, 2014. https://scholarworks.wm.edu/etd/1539623632.
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Lewis Burwell II designed Fairfield plantation in Gloucester County to be the most sophisticated and successful architectural and agricultural effort in late seventeenth-century Virginia. He envisioned a physical framework with the intent to control the world around him so that he might profit from growing tobacco, while raising his family's status to the highest in the colony through the display of wealth and knowledge and the enslavement of both Africans and the natural surroundings. The landscape he envisioned contrasted with those of the enslaved Africans he purchased and put to work in the fields and buildings surrounding his '1694 brick manor house. These overlapping and often competing landscapes are visible in the surviving material culture, archaeological remains, and historic documents. Individuals created these landscapes from their personal experiences, a product of their constantly changing perspectives extending outward from themselves, their "way of seeing" tempered by a culture rooted in Senegambia, England, or Virginia. at a crucial period in Virginia history, perhaps the most significant period of plantation development prior to the Civil War, Lewis Burwell II's Fairfield plantation reflected the struggle between the co-dependent strains of agricultural expansion and racialized slavery. This dissertation attempts to explain how and why individuals created and manipulated these landscapes, how landscapes provided opportunities and constrained possibilities, defined interpersonal relationships, individual and group identities, and the relative success and failures of a society constantly confronted with a physical environment it could not wholly control. By studying past landscapes and how others used them to define and redefine their identities, it is possible to gain insight into our present condition, deepening an understanding of how our interactions with landscape define our own identity.
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Luccketti, Nicholas Michael. "Archaeology at Bennett Farm: The Life Style of a Seventeenth-Century Middling Planter in York County, Virginia." W&M ScholarWorks, 1990. https://scholarworks.wm.edu/etd/1539625559.
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Zhu, Ying. "Evidence of existing knowledge of China and its influence on European art and architecture in the sixteenth and seventeenth centuries." Diss., Georgia Institute of Technology, 2009. http://hdl.handle.net/1853/37096.
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This dissertation investigates the extent of knowledge of China in Europe and, more particularly, Chinese influence on European art and architecture in the sixteenth and seventeenth centuries. It attempts to answer the following questions:
1. What visual and literature resources on China and Chinese art in Europe were available in the sixteenth and seventeenth centuries?
2. To which extent was there any understanding of Chinese art and architecture in Europe in the sixteenth and seventeenth centuries?
3. To which extent might this understanding have affected European art and architecture in the sixteenth and seventeenth centuries?
Although European contacts with China began in the early sixteenth century, few scholars have touched on the evidence that exists of the extent of European knowledge of Chinese architecture before 1720, even on the possible impact of the Chinese architectural designs that were depicted on Chinese porcelains and other merchandise imported into Europe for two centuries before that date. This dissertation examines the evidence for the employment of new and differing aesthetics derived from Chinese artifacts and then assimilated in European art, architecture and landscape in the sixteenth and seventeenth centuries.
After examining the variety of resources from which the new aesthetics derived from Chinese artifacts imported into Europe was evolved, the dissertation analyzes Chinese influence in different nations in an order which follows the most consistently open and effective communications to the Far East.
In the process, the dissertation quotes the contemporary historical descriptions of those Chinese artifacts as well as attempting to identify their influence on European art and architecture, thus providing evidence that the interaction between China and Europe served as subtle but active, generative force in European art throughout the period.
In sum, the thesis attempts to explore the European understanding of Chinese art in the sixteenth and seventeenth centuries and to examine the consequences of that influence as they were reflected in European art and architecture. It analyzes some of the most influential and related social, political, and religious aspects that acted as powerful stimuli, which in turn affected in the growth of Chinese influence on European art, architecture and landscape.
This dissertation thus attempts to push back the significance of the Chinese influence on aspects of European artistic styles from the accepted date of the early eighteenth century to the seventeenth and even earlier - the sixteenth century.
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Halford, Jacob. "'Of dialogue, that great and powerful art' : a study of the dialogue genre in seventeenth-century England." Thesis, University of Warwick, 2016. http://wrap.warwick.ac.uk/87927/.
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This thesis examines the dialogue genre in seventeenth-century England. In 1681 when Henry Care established his periodical The Popish Courant he chose the format of a dialogue because people were ‘so set upon dialoging.’ Care’s choice of dialogue for his periodical is indicative of the popularity of dialogue in the seventeenth century. Yet, despite the popularity that dialogue enjoyed in this period it has not received comparative attention by scholars. This thesis seeks to address this gap and make two specific historiographical contributions. Firstly, it demonstrates how the digitization of early modern sources can enable scholars to approach literary history from perspectives that physical books prevent. Using the digital collections of Early English Books Online, British Periodicals Online, and Eighteenth Century Collections Online for its source material this thesis has used a database of dialogues to analyze the genre and provide contextual knowledge about the genre as a whole that can illuminate the rhetorical objectives behind specific uses of dialogue. This is particularly exposed in the final chapter that utilizes this contextual information to understand the appeal of dialogue in Roger L’Estrange’s Observator. Secondly this thesis adds to the growing number of studies of early modern genres such as pamphlets, newspapers, ballads, and chapbooks. The period under discussion was one of significant change in terms of political and social circumstances and this thesis demonstrates that dialogue was sensitive to these political events. By situating the dialogue within the broader print landscape of seventeenth-century England the thesis maps how dialogue adapted to changing circumstances with pamphlet dialogues, periodical dialogues, and dialogues of the dead, in particular emerging in response to social and political events. Looking at the dialogue in the context of other literary forms this thesis argues that the appeal of dialogue was its flexibility and ability to educate a broad range of people across all demographics of seventeenth-century England.
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Downey, Erin Elizabeth. "The Bentvueghels: Networking and Agency in the Seicento Roman Art Market." Diss., Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/335436.
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Art History<br>Ph.D.<br>This dissertation evaluates the position of Netherlandish migrant artists in the dynamic cultural environment of seventeenth-century Rome through an examination of the role of the Bentvueghels (“birds of a feather”) as a social and economic nexus for the city’s foreign community. One of the most distinctive societies in the history of art, this high-spirited ex-pat “brotherhood” attracted hundreds of traveling artists and was notorious throughout Europe for its raucous initiations and for the raw depictions of Rome by Pieter van Laer and his followers, the Bamboccianti. While earlier scholarship has established important aspects of the group, such as its history and the artistic significance of individual members, the society has been characterized largely as antagonistic and antithetical to organizations and institutions specific to Rome. I offer instead a fresh outlook on the Bentvueghels that examines their day-to-day economics and response to (and even driving of) market forces in Rome, in order to determine how the society of foreigners as a whole operated functionally within a shifting creative environment in one of the most vital artistic centers in Europe. To address these issues, each chapter is arranged thematically and chronologically, focusing on the period between 1620, when the group first organized, through the close of the seventeenth century, when the last known images of Bentvueghel initiations were created. Using a methodology that integrates art historical primary source investigation with migration theory and network analysis, I analyze the various stages of the journey to Rome for these artists, from initial arrival, to the establishment of a workshop, to the achievement of success in local and international markets. The Introduction (Chapter One) sets up the methodological and historiographical framework for the dissertation. In the second chapter, “Arriving in Rome: The Bentvueghels as a Social and Economic Nexus,” the social activities of the Bentvueghels and their networks are discussed. Archival sources including parish censuses, criminal court records, and notarial documents demonstrate how the group enabled migrant artists to adapt to a different—and often hostile—market by fostering surrogate kinship networks. The Bentvueghels offered migrant artists, who were typically young (around 22-25 years of age), male, and single, a place to live, a ready-made network of friends, and critical financial assistance. Chapter Three, “Working in Rome: Bentvueghel Workshops and Working Practices,” establishes the working practices of Dutch and Flemish artists, a relatively uncharted area of research, and locates economic and social network formation within the space of the workshop. Centers of artistic production in the city are scrutinized, from the highly trafficked studios of Netherlandish artists such as Paul Bril to the private drawing academies hosted by prestigious patrons, including the celebrated Genoese aristocrat, Vincenzo Giustiniani. Paintings, drawings, and prints produced by Dutch and Flemish Italianate artists are compared to identify patterns in workshop practices, determine market impact, and measure the degree to which they were influenced by their new surroundings and by their association with the Bentvueghels. In the fourth and final chapter, “Staying in Rome: Cornelis Bloemaert II as a Case Study for Long-term Strategies of Networking,” I explore strategies of integration among members who remained in Rome for extended periods, focusing on the engraver Cornelis Bloemaert II as a case study. Collaborative enterprises such as large-scale book productions, which comprised a significant proportion of Bloemaert’s artistic output in Rome, provided ways for artists to enhance their artistic education and experiment with new techniques and motifs, while also encouraging further expansion and development of an artist’s social and economic networks. This study thus evaluates the full scope of a foreign artist’s experience in Rome, highlighting with greater accuracy the ways in which affiliation with the Bentvueghels influenced acclimation and eventual integration within the social and cultural fabric of the city. It offers, moreover, a much needed contextualization of the artistic relations between northern European and Italian artists in seventeenth-century Rome, and the important position of the Bentvueghels within this cosmopolitan environment.<br>Temple University--Theses
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Sullivan, Kelly Ann. "of Panicoids and Pooids: An Environmental Archaeology Study of the Seventeenth-Century Houselot at Rich Neck Plantation, Williamsburg, Virginia." W&M ScholarWorks, 1999. https://scholarworks.wm.edu/etd/1539626208.
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Martone, Dragani Concetta. "Between Heaven and Earth: Negotiating Sacred Space at the Church of the Certosa di San Martino in Early-Seventeenth-Century Naples." Diss., Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/200336.
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Art History<br>Ph.D.<br>At the beginning of the viceregal era, the Certosa di San Martino, a Carthusian monastery of medieval foundation, experienced a resurgence that culminated in the rebuilding of its church starting in the late 1580s. The new church of the Neapolitan Certosa featured an innovative design and an extensive and complex decorative program that distinguished it from all other churches of the order. This dissertation examines the rebuilding of the church of the Certosa di San Martino as a process deeply rooted in the changing religious culture of the time and one that also reveals the tensions inherent to the redefinition of monastic identity in Post-Tridentine Spanish Naples. The development of the Carthusian project paralleled the institutional re-organization of the order, but it also assumed a unique trajectory aimed at highlighting the role of the white monks and contemplative spirituality in the production of sanctity in Naples. By tracing the evolution of the rebuilding initiative within its proper cultural, religious and social context, I clarify the goals of the patrons and the expectations placed on the artists, and I define the scope of the project according to new parameters of spiritual authority. The reconstruction of the rebuilding process relies on primary sources from the Neapolitan State Archives and on recent historical and archaeological research, in addition to comparative studies. This dissertation challenges the view of Post-Tridentine monastic architecture as a mere response to the new liturgical requirements and sides with more recent interpretations by seeing monastic sacred spaces as dynamic places of exchange, and their designs and decorations as expressions of the spiritual authority of the monastic body they house. The rebuilding of the church of the Certosa di San Martino stands as an important example of the process by which spiritual authority was produced and redirected in Spanish Naples. Since 1973, when the first and only monograph on the art of the Certosa di San Martino was published, studies have been sporadic and limited to the analysis of particular works contained in the church. I analyze the new architectural plan and decoration of the church as fundamentally bound to the transformation of Spanish Naples into a holy city.<br>Temple University--Theses
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der, Weduwen Arthur. "Selling the republican ideal : state communication in the Dutch Golden Age." Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/16612.
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This study seeks to describe the public communication practices of the authorities in the Dutch Golden Age. It is a study of 'state communication': the manner in which the authorities sought to inform their citizens, publicise their laws, and engage publicly in quarrels with their political opponents. These communication strategies underpinned the political stability of the seventeenth-century Dutch Republic. Concerned about their decorous appearance, the regents who ruled the country always understated the extent to which they relied on the consent of their citizens. The regents shared a republican ideal which dismissed the agency of popular consent; but this was an ideal, like so many ideals in the Dutch Republic, which existed in art and literature, but was not practised in daily life. The practicalities of governance demanded that the regents of the Dutch Republic adopt a sophisticated system of communication. The authorities employed town criers and bailiffs to speed through town and country to repeat proclamations; they instructed ministers to proclaim official prayer days at church; and they ensured that everywhere, on walls, doors, pillars and public boards, one could find the texts of ordinances, notices and announcements issued by the authorities. In the seventeenth-century Dutch Republic, politics was not the prerogative of the few. That this was due to the determined efforts of the authorities has never been appreciated. Far from withholding political information, the regents were finely attuned to the benefit of involving their citizens in the affairs of state. The Dutch public was exposed to a wealth of political literature, much of it published by the state. The widespread availability of government publications also exposed the law to prying, critical eyes; and it paved the way to make the state, and the bewildering wealth of legislation it communicated, more accountable.
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Pickett, Dwayne Webster. "The John Page House Site: A n Example of the Increase in Domestic Brick Architecture in Seventeenth-Century Tidewater Virginia." W&M ScholarWorks, 1996. https://scholarworks.wm.edu/etd/1539626030.
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Gibson, Anne M. "A Desire for Fired Clay from Far Away: Analysis of Ceramics from a Seventeenth-Century Domestic Site in Bridgetown, Barbados." W&M ScholarWorks, 2010. https://scholarworks.wm.edu/etd/1539626618.
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