The theme of this volume is Netherlandish Art in its Global Context.
Netherlandish art testifies in various ways 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 Suriname. 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.
More details can be found on Brill’s website.
Table of contents
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