CfP: Foreign Eyes on the Republic


Foreign Eyes on the Republic      
European Perspectives on the Republic and the Dutch in the Long Eighteenth Century

Radboud University Nijmegen, the Netherlands

21 — 22 February, 2019

Foreign Eyes afbeelding

What images did the Dutch evoke during the long eighteenth century? By examining both the international importance of the Republic as well as the development and dissemination of European stereotypes about the Dutch, such as cleanliness or frugality, this conference aims to overlap and juxtapose a plethora of perspectives on the eighteenth-century Northern Nether-lands.

This conference offers scholars a platform to engage with various European perspectives on the Dutch and the Dutch Republic in the long eighteenth century. We encourage the use of a diversity of sources, ranging from ego-documents and travelogues to poetry and historiography, as well as visual material such as paintings and engravings, in order to produce a comparative, kaleidoscopic view of national images and map their dissemination across genres, languages and borders. We especially welcome papers that discuss the political and cultural use of stereotypes, as well as papers that depart from lesser-known perspectives, e.g. from Central and Eastern Europe and Scandinavia.

This conference would like to broaden the scope of imagological research in three distinct ways: 1) by combining and juxta-posing ego-documental, historical, art-historical and literary sources; 2) by com-paring relatively well-known and lesser-known European views; 3) by discussing the opinions of both foreign guests (travellers) and the reactions of their hosts (‘travelees’).

The historical demarcation should be understood in a broad sense: the conference welcomes papers on the diachronic develop-ment of stereotypes, as well as single historical events which influenced European opinions.

Suggestions for papers are:

  • Theoretical and methodological approaches to early modern stereotypes
  • The use and reuse of stereotypes in politics and propaganda
  • National imagery, myths, and symbols
  • Centers of trade and scholarship
  • The dynamics between hosts and guests
  • National, regional and local stereotypes
  • Auto-images and hetero-images


Paper proposals (max. 300 words) should reach the conference committee by 14 December, 2018 by email: Please include a short biography. We invite proposals on any topic relevant to the conference’s theme: European perspectives on the Dutch and the Dutch Republic in the long eighteenth century. Confirmed keynote speakers are Prof Dr Joep Leersen (University of Amsterdam) and Dr Gerrit Verhoeven (University of Antwerp). Conference website:


This conference is funded by the Alexander P. Raat conference fund, awarded by the Dutch-Belgian Society for Eighteenth-Century Studies (Werkgroep 18e Eeuw). The conference is hosted by the Radboud University Nijmegen and organized by Paul Hulsenboom MA and Alan Moss MA.


CfP: The Artistic Taste of Nations

Foto Call for Papers

The Artistic Taste of Nations: Contesting Geographies of European Art, 1550-1815

(Call for papers)

This conference will be held on 13 and 14 June 2019 at Vrije Universiteit Amsterdam. Researchers are invited to submit papers scrutinizing the impact of the early modern notion of ‘school’ on the emergence of a geographical understanding of the visual arts in Europe. As an organizing principle in art collections and art books, this notion was used to indicate a range of different kinds of places, including artists’ workshops, art academies, cities, regions and nations in Europe. Its application was far from standardized, however, as evidenced by the broad debates, negotiations and contestations amongst scholars, collectors, dealers, agents and artists concerning the nature, prestige and identity of art and artists. Depending on the contexts in which such debates took place (e.g. scholarship, collecting, the market or aesthetics), the notion of school could be associated with issues of taste and civilization, human variety and national character, nature and climate, and commerce or knowledge. The concept of school was thus based on the location of certain practices and modalities of art, although it was equally suited to the active shaping of ideas about the European art world and, possibly, even about the nations of Europe. The early modern concept of school thus did not coincide with the modern notion of national school. The extent to which it influenced modern forms of national-school classifications of art and national art history (which are currently under critical scrutiny by art historians with a geographical interest in the artistic exchange, transfer or circulation of early modern art) is open to debate (Gaehtgens 1993, Kaufmann 2004, Maës 2010).

Geographical notions of school were widely adopted in both art books and art collections in early modern Europe. For example, in the art literature, Giorgio Vasari (1550/1568) referred only to schools of artists, even though he perceived differences between the production of art in Florence and Venice. Giovanni Battista Agucchi (c. 1607-15) was apparently the first to distinguish between schools of Italian painting (i.e. Roman, Venetian, Lombard and Tuscan). In the same period Karel van Mander (1604) took the geographic origins of artists – which now included the Low Countries and Germany in addition to Italy – as an organizing principle for their biographical compendia. This was also done later by Joachim von Sandrart (1675-80). With the notion of the ‘taste of nations’, Roger de Piles (1699) created a systematic connection between schools and nations, while securing a place for French art and artists on the European map of art. Similarly, geographical arrangements have appeared in collections from early times. In some cases, they were used in encyclopaedic collections, which usually tended to follow a thematic order and included objects from outside of Europe. They became predominant in print and drawing collections assembled by Basilius Amerbach (1533-1591), Louis Odespung de la Meschinière (1597-1655), Filippo Baldinucci (1624-97), Pierre Crozat (1661-1740), Heinrich von Heinecken (1707-91), Pieter Cornelis van Leyden (1717-88) and others. As it seems, geographical arrangements of art were systematized in paper collections even before they were adopted in picture galleries (e.g. in Düsseldorf, Dresden, Vienna, Florence and Paris).

Of special interest for this conference – and the planned publication of its proceedings – are case studies devoted to art collections and art literature, as well as the often-close connections between them. Case studies of collections may comprise those of an encyclopaedic nature, as well as those devoted to prints, drawings or paintings. Several approaches are considered particularly relevant to the geographical analyses of the case studies. First, the conceptual approach to the art-geographical notion of school, which has come to imply places of artistic tuition and modalities of art, as well as publics of art, as it became tied to the notion of nation (Peltre/ Lorentz 2007, Brunner/Koselleck 1972-97, Leerssen 2006). Second, the rise of art connoisseurship supplied an instrument for evaluating art works, artists and schools in Europe through mutual comparison and critical assessment (Griener 2010, Michel 2014, Smentek 2014). Third, the aspect of trans-local, trans-regional and/or trans-national networks has shaped geographies of art through travel, debate, correspondence, trade or agency in various parts of Europe (Meyer/ Savoy 2014, Keblusek 2011).

Papers may focus on but need not be limited to:
– collections of prints, drawings, paintings or other art works, including within the context of encyclopaedic collections;
– works of art literature in the widest sense of the term;
– geographical arrangement as a form of mapping European art;
– trans-local, trans-regional or trans-national discourses of art;
– the concepts of art, school and nation, as well as the connections between them;
– identity formation through artistic concepts of school, character, style or taste;
– European networks of collectors, curators, scholars, dealers and artists;
– increasing public access to collections and/or museums;
– the rise of art connoisseurship and the critical evaluation of art;

– values of art on the market;
– the early-modern roots of modern national (and nationalistic) histories of art.
Proposals for papers should be submitted before 15 November 2018 ( They should contain an abstract of no more than 300 words, as well as a brief biography (no more than 200 words). The conference will be held on 13 and 14 June 2019 at Vrije Universiteit Amsterdam. The costs of travel and accommodation will be covered for researchers whose proposals are selected. The conference is made possible by a fund from the Netherlands Organisation for Scientific Research (NWO), and it is realized in cooperation with the Rijksmuseum Amsterdam and the Interfaculty Research Institute for Culture, Cognition, History and Heritage (CLUE+) of Vrije Universiteit Amsterdam.

Concept and organization: Ingrid Vermeulen and Huigen Leeflang
Scientific committee: Ingrid Vermeulen, Frans Grijzenhout, Everhard Korthals-Altes, Huigen Leeflang, Joep Leerssen, Debora Meijers, Véronique Meyer, Arnold Witte.


Gouden Eeuw Lezing 2018

Het Amsterdam Centre for the Study of the Golden Age nodigt u graag uit voor de Gouden Eeuw Lezing 2018, op 9 oktober a.s., in de Aula van de UvA: René van Stipriaan, Shakespeare, Bredero, Rembrandt. Het theater van de hartstochten in de zeventiende eeuw.

Het ACSGA organiseert dit evenement regelmatig voor een cultureel geïnteresseerd publiek, als visitekaartje van geesteswetenschappelijk onderzoek. Eerdere sprekers waren onder anderen Steven Nadler over Spinoza, en Gary Schwartz over de omgang met de erfenis van de Gouden Eeuw in de 21ste eeuw.

In 2018 is het onderwerp gekoppeld aan het herdenkingsjaar van de 400ste sterfdag van de ‘eerste echte Amsterdammer’, G.A. Bredero. UvA-alumnus dr. René van Stipriaan zal spreken over Shakespeare, Bredero en Rembrandt:

Waarnemen en weten zijn de sleutelbegrippen in de kennisrevolutie van de zeventiende eeuw. Er horen namen bij van denkers als Bacon, Descartes en Spinoza, maar ook van praktische onderzoekers als Beeckman, Stevin en Van Leeuwenhoek. De christelijke heilsleer en oude doctrines als het aristotelisme boetten gestaag in aan wetenschappelijk relevantie. Toch werd aan het begin van de zeventiende eeuw de werking van de zintuigen en het menselijk oordeel als veel problematischer ervaren, dan de uitkomst van de kennisrevolutie wil doen vermoeden. Daarin hadden literatuur en schilderkunst een sleutelrol. Aan de hand van Shakespeare, Bredero en Rembrandt wordt in deze lezing uiteengezet hoe hartstochten in staat zijn om een gezond brein te corrumperen, de zintuigen als een vervormend brandglas te laten werken. Het vertrouwen in de ratio dat door Descartes en Spinoza werd verkondigd is hier nog ver weg.

Literair-historicus en UvA alumnus René van Stipriaan (1959) heeft een ruime ervaring als onderzoeker, schrijver en presentator. Onlangs ontrafelde hij in De hartenjager. Leven, werk en roem van Gerbrandt Adriaensz. Bredero de mythen en mysteries rond deze getalenteerde en vrijmoedige Amsterdammer. Deze biografie is met veel enthousiasme ontvangen. In de Gouden Eeuw Lezing plaatst Van Stipriaan Bredero in het ruimere perspectief van de cultuur van de Nederlandse Gouden Eeuw. Daarover schreef hij onder meer Het volle leven. Nederlandse literatuur en cultuur ten tijde van de Republiek (2002) en Lof der botheid. Hoe de Hollanders hun naïviteit verloren (2016).

Locatie: Aula – Oude Lutherse kerk, Singel 411 | 1012 XM Amsterdam

Aanvang: 20 u., toegang gratis; aanmelding gewenst:

Receptie na afloop; de lezing zal dan verkrijgbaar zijn.

Symposium KWAB: New Discoveries – 13 en 14 september 2018 – Rijksmuseum

Opnamedatum: 2017-07-07

Op 13 en 14 september organiseert het Rijksmuseum een internationaal, tweedaags symposium ter gelegenheid van de tentoonstelling KWAB: Dutch Design in de Eeuw van Rembrandt, die deze zomer in het museum te zien zal zijn. Getoond worden de mooiste voorbeelden van objecten in de wonderbaarlijke kwabstijl, een belangrijk – maar grotendeels genegeerd – fenomeen in de Nederlandse en Europese toegepaste kunsten gedurende de zeventiende eeuw.

Het symposium brengt belangrijke specialisten samen, waaronder Johan ter Molen, Tessa Murdoch (Victoria and Albert Museum), Matthew Winterbottom (Ashmolean Museum, Oxford) en Jet Pijzel-Dommisse (Gemeentemuseum Den Haag). Zij presenteren nieuwe inzichten en technische en kunsthistorische ontdekkingen aangaande objecten te zien in of gerelateerd aan de tentoonstelling.

Deelnemers aan het symposium zullen op vrijdagavond 14 september in staat zijn de tentoonstelling KWAB na sluitingstijd te bezoeken.

We hopen dat u deel zult uitmaken van dit evenement, waarbij zij die zich bezig houden met toegepaste kunst, zeventiende-eeuwse kunst, de geschiedenis van de Gouden Eeuw, en de geschiedenis van het ontwerp samen zullen komen.

Registratie voor het symposium kan via de website van het Rijksmuseum. Daar is ook meer informatie te vinden over het programma.