Date: Thursday 20 February 2020
Time: 16:00 – 18:00 hrs
Location: University Library
Witte Singel 26-27
2311 BG Leiden Room Vossiuszaal
Four young French Fellows at the Department Art History present their research regarding the Dutch seventeenth century
1. Whore, saint or example: Portraits of Mary Magdalene in the Dutch seventeenth-century
Carole Fonticelli, Université Paris 1 Panthéon-Sorbonne
Despite the Calvinist’s rejection of the intercessory role of the saints, the practice completely differs from the theory in the daily life of the seventeenth-century Republic. Indeed, even the dubious saint Mary Magdalene was widely depicted by Dutch artists, even Calvinists. In my talk I will give an overview of how she looked like in a rich diversity of paintings. These representations often regard her as role model –and no longer as an intercessors. Thus we can see how the depiction of the saint surprisingly well fits with Calvinist ideals.
2. A multifaceted Jerusalem Protestant, Catholic and Jewish perspectives in Romeyn de Hooghe’s views of the Temple
Esther Guillaume, Université Paris 1 Panthéon-Sorbonne
During the second half of the seventeenth century, the Dutch Republic witnessed a growing interest for the structure and lost appearance of Solomon’s Temple. This interest, nourished by theologians, artists, as well as curious individuals partially stemmed from the belief in the Republic as the New Israel. This talk will deal with the question how exactly the image of the Jerusalem Temple was appropriated and integrated into the visual culture of a religiously multifaceted Dutch audience. Therefore, I will focus on three distinct cases of Temple representations by Romeyn de Hooghe : The Spiegel om wel te sterven (David de la Vigne, c. 1673), the Schouburgh der Nederlandse Veranderingen (Romeyn de Hooghe, 1674) and the nine prints series on Solomon’s Temple for Hieronymus Nunes da Costa.
3. Emulating, copying, imitating: Roman drawings by the Bentvueghels
Suzanne Baverez, Ecole Partique des Hautes Etudes
It is well known that during the seventeenth century, the Schildersbent was one of the major sources of entertainment for the Netherlandish artistic community in Rome. The welcoming parties thrown for the induction of a new member Bentvueghel were as many occasions for regularly gathering the expatriated Netherlandish artists, leading to long-lasting companionships among them. How does it impact their artistic practices? Taking a close look at the drawing production of the Bentvueghels – from sketchbooks to preparatory compositions- this talk will discuss the collective artistic pratices that the Schildersbent has fostered. Suzanne Baverez will show how, by drawing side by side, but also by exchanging and copying drawings from one another, the Netherlandish artists led major experimentations. She also shows how the drawings reveal a prominent itinerary through Rome. From this itinerary other questions pop up: Is this itinerary done under the lead of compatriots and differs it from the ones performed by Italian or French artists? Finally, how to qualify the Rome they thus created?
4. Understanding art production in Leiden before and after 1575: the case of stained-glass
Sarah Moine, PhD-student Leiden University
Studies of the various aspects of Leiden history often start or end in 1575, after the deadly Spanish siege and at the date of the foundation of the University. However, the richness of the Leiden archives allow for a comprehensive study of the art production through this period, focussing on the continuity and changes of this paradigm-shifting period that is the end of the 16th century and the early years of the so-called “Golden Age.” With the example of the production of stained-glass, a craft of which the use goes far beyond the Catholic art production, we will question the evolution of Leiden as an artistic centre during that time, and illustrate in which fields our primary sources can help us shed new light.