Romeyn de Hooghe (Dutch, 1645-1708), Marriage of William and Mary, 1677. Etching. Krannert Art Museum
Art & Architecture SourceThis link opens in a new windowBased on a merger of databases from EBSCO Publishing and H.W. Wilson, and including many unique sources that were never previously available, this database covers a broad range of related subjects, from fine, decorative and commercial art, to various areas of architecture and architectural design. This database features full-text articles as well as detailed indexing and abstracts for an array of journals, books, podcasts and more. International in scope, Art Source includes periodicals published in French, Italian, German, Spanish and Dutch and is designed for use by a diverse audience, including art scholars, artists, designers, students and general researchers.
Graphic History by Philip Benedict; Jacques Tortorel; J. PerrissinThe suite of forty prints published in Geneva in 1570 depicting the wars, massacres and troubles of the French Wars of Religion may have been the first picture history made in woodcuts or etchings that promised a geenral public a true view of great events of the recent past. This richly illustrated study reconstructs the gradual elaboration of this experimental work, situating it within the previously untold story of the use of the graphic arts to report the news in the fist centuries of European printmaking. Successive chapters explore the pictorial traditions that inspired the printmakers, examine how they gathered their information, assess the reliability of the scenes, and analyze the historical vision informing the series. Part 2 reproduces the full suite with commentary in double page fold-outs. Through the study of a single print series, lost chapters in the history of jorunalism, of the graphic arts, and of Protestant historical consciousness re-emerge.
McQUISTON, LIZ. “Early Developments: The Reformation and Social Comment (1500–1900).” In Protest!: A History of Social and Political Protest Graphics, 8–33. Princeton University Press, 2019. https://doi.org/10.2307/j.ctvfwwrv8.4.
The Life of Romeyn de Hooghe 1645-1708 by Henk van NieropRomeyn de Hooghe was the most inventive and prolific etcher of the later Dutch Golden Age. The producer of wide-ranging book illustrations, newsprints, allegories, and satire, he is best known as the chief propaganda artist working for stadtholder and king William III. This study, the first book-length biography of de Hooghe, narrates how his reputation became badly tarnished when he was accused of pornography, fraud, larceny, and atheism. Traditionally regarded as a godless rogue, and more recently as an exponent of the Radical Enlightenment, de Hooghe emerges in this study as a successful entrepreneur, a social climber, and an Orangist spin doctor. A study in seventeenth-century political culture and patronage, focusing on spin and slander, this book explores how artists, politicians, and hacks employed literature and the visual arts in political discourse, and tried to capture their readership with satire, mockery, fun, and laughter.
Publication Date: 2018-11-11
The Birth of Modern Political Satire by Meredith McNeill HalePolitical satire has been a primary weapon of the press since the eighteenth century and is still intimately associated with one of the most important values of western democratic society: the right of individuals to free speech. This study documents one of the most important moments in thehistory of printed political imagery, when political print became what we would recognise as modern political satire. Contrary to conventional historical and art historical narratives, which place the emergence of political satire in the news-driven coffee-house culture of eighteenth-century London,Meredith M. Hale locates the birth of the genre in the late seventeenth-century Netherlands in the contentious political milieu surrounding William III's invasion of England known as the "Glorious Revolution".The satires produced between 1688 and 1690 by the Dutch printmaker Romeyn de Hooghe on the events surrounding William III's campaigns against James II and Louis XIV establish many of the qualities that define the genre to this day: the transgression of bodily boundaries; the interdependence of textand image; the centrality of dialogic text to the generation of meaning; serialized production; and the emergence of the satirist as a primary participant in political discourse. This study, the first in-depth analysis of De Hooghe's satires since the nineteenth century, considers these prints assites of cultural influence and negotiation, works that both reflected and helped to construct a new relationship between the government and the governed.
Publication Date: 2020-11-01
Public Opinion and Changing Identities in the Early Modern Netherlands by Judith Pollmann (Volume Editor); Andrew Spicer (Volume Editor)Was there such a thing as 'public opinion' before the age of newspapers and party politics? The essays in this collection show that in the Low Countries, at least, there certainly was. In this highly urbanised society, with high literacy rates and good connections, news and public debate could spread fast in the sixteenth and seventeenth centuries, enabling the growth of powerful opposition movements against the Crown, the creation of the Dutch Republic, and of the distinctive Netherlandish culture of the Golden Age. Contributors include: Hugh Dunthorne, Raingard Esser, Jonathan Israel, Gustaaf Janssens, Henk van Nierop, Guido Marnef, M.E.H. Nicolette Mout, Andrew Pettegree, Judith Pollmann, Paul Regan*, Andrew Sawyer*, Jo Spaans, Andrew Spicer*, and Juliaan Woltjer. (* Supervised by Alastair Duke)
Publication Date: 2006-12-01
Death, Torture and the Broken Body in European Art, 1300-1650 by John R. Decker (Editor); Mitzi Kirkland-Ives (Editor)Bodies mangled, limbs broken, skin flayed, blood spilled: from paintings to prints to small sculptures, the art of the late Middle Ages and early modern period gave rise to disturbing scenes of violence. Many of these torture scenes recall Christ's Passion and its aftermath, but the martyrdoms of saints, stories of justice visited on the wicked, and broadsheet reports of the atrocities of war provided fertile ground for scenes of the body's desecration. Contributors to this volume interpret pain, suffering, and the desecration of the human form not simply as the passing fancies of a cadre of proto-sadists, but also as serving larger social functions within European society. Taking advantage of the frameworks established by scholars such as Samuel Edgerton, Mitchell Merback, and Elaine Scarry (to name but a few), Death, Torture and the Broken Body in European Art, 1300-1650 provides an intriguing set of lenses through which to view such imagery and locate it within its wider social, political, and devotional contexts. Though the art works discussed are centuries old, the topics of the essays resonate today as twenty-first-century Western society is still absorbed in thorny debates about the ethics and consequences of the use of force, coercion (including torture), and execution, and about whether it is ever fully acceptable to write social norms on the bodies of those who will not conform.
Call Number: 704.942 D3496
Publication Date: 2016-03-18
Louis XIV Outside In by Tony Claydon; Charles-Édouard LevillainLouis XIV - the 'Sun King' - casts a long shadow over the history of seventeenth- and eighteenth-century Europe. Yet while he has been the subject of numerous works, much of the scholarship remains firmly rooted within national frameworks and traditions. Thus in France Louis is still chiefly remembered for the splendid baroque culture his reign ushered in, and his political achievements in wielding together a strong centralised French state; whereas in England, the Netherlands and other protestant states, his memory is that of an aggressive military tyrant and persecutor of non-Catholics. In order to try to break free of such parochial strictures, this volume builds upon the approach of scholars such as Ragnhild Hatton who have attempted to situate Louis' legacy within broader, pan-European context. But where Hatton focused primarily on geo-political themes, Louis XIV Outside In introduces current interests in cultural history, integrating aspects of artistic, literary and musical themes. In particular it examines the formulation and use of images of Louis XIV abroad, concentrating on Louis' neighbours in north west Europe. This broad geographical coverage demonstrates how images of Louis XIV were moulded by the polemical needs of people far from Versailles, and distorted from any French originals by the particular political and cultural circumstances of diverse nations. Because the French regime's ability to control the public image of its leader was very limited, the collection highlights how - at least in the sphere of public presentation - his power was frequently denied, subverted, or appropriated to very different purposes, questioning the limits of his absolutism which has also been such a feature of recent work.
Graphic Satire and Religious Change by Joke SpaansBased on a small corpus of enigmatic satirical prints, so far ignored by art historians and historians of religion, this book traces covert debates on the shortcomings of early modern religious culture, and directions for reform, in the Dutch Republic.
Van Dyck, Rembrandt, and the Portrait Print by Victoria Sancho Lobis; Maureen Warren (Contribution by)In the last decade of his life, Anthony van Dyck (1599-1641) undertook a printmaking project that changed the conventions of portraiture. In a series later named the Iconography, he portrayed artists alongside kings, courtiers, and diplomats--a radical departure from preexisting conventions. He also depicted his subjects in novel ways, focusing on their facial features often to the exclusion of symbolic costumes or props. In addition to illustrating approximately 60 works by Van Dyck and other artists from his era--particularly Rembrandt--this catalogue traces the artist's influence over hundreds of years. Showcasing both 17th century portraits in a variety of media and portrait prints by a wide range of artists spanning the 16th through the 20th centuries--including Albrecht Dürer, Hendrick Goltzius, Francisco de Goya, Edgar Degas, and Jim Dine--the book demonstrates the indelible mark that Van Dyck left on the genre.