TOC: Dutch Crossing: Journal of Low Countries Studies, vol. 45, no. 3 (November 2021)

Ulrich Tiedau Discussion

Dutch Crossing: Journal of Low Countries Studies
Volume 45, Issue 3 (November 2021)

 
Editorial
Ulrich Tiedau
 
Articles
 
Jan Van Doesborch and the History of Euryalus and Lucretia
Piet Franssen
 
Disaster and Discord: Romeyn de Hooghe and the Dutch State of Ruination in 1675
Hanneke van Asperen
 
The Still Life(s) of Chantal Akerman: Akerman’s Moving Images and Dutch 17th-Century Painting
Raymond Luca
 
Book Review
 
The Dutch Language in Japan (1600–1900): A Cultural and Sociolinguistic Study of Dutch as a Contact Language in Tokugawa and Meiji Japan
by Christopher Joby (Leiden/Boston: Brill, 2021)
Reinier Salverda
 
Abstracts
 
Jan Van Doesborch and the History of Euryalus and Lucretia
Piet Franssen
 
Around 1444 Aeneas Sylvius Piccolomini, the later pope Pius II, wrote De duobus amantibus. Historia Euryalo et Lucretia. In this article I will show that the attribution of the first English edition of the text, the History of Euryalus and Lucretia (c. 1515) to the press of the Antwerp publisher/printer Jan van Doesborch is very plausible. This attribution is based on the analysis of the ‘London fragment’ of the text – which is published here for the first time – in relation to the relationship and characteristics of other publications of the office of Jan van Doesborch.
 
 
Disaster and Discord: Romeyn de Hooghe and the Dutch State of Ruination in 1675
Hanneke van Asperen
 
In 1675 the prolific etcher and engraver Romeyn de Hooghe designed, produced, and published a print depicting several disasters that had scourged the Republic of the Seven United Provinces from 1672 onwards. The print offers interesting insights in contemporary concerns that accumulated during All Saints Flood in 1675. In recent historical studies, the print has been used to illustrate contemporary belief in divine providence, and faith of the Dutch that history would take a turn for the better. But the iconography of the print is detailed and complex, and many of its vital elements have been ignored or were misinterpreted. Careful examination from an art historical perspective reveals that the print does not illustrate faith in a good outcome. On the contrary, De Hooghe accuses his fellow countrymen of a lack of faith using the New Testament story of a storm on the Sea of Galilee as a biblical parallel. Secondly, De Hooghe identifies discord as the cause of the current sad state of the Dutch Republic. He even implies that those responsible are the wealthy citizens in the prosperous Province of Holland who have neglected to take care of the republic’s poorer members.
 
 
The Still Life(s) of Chantal Akerman: Akerman’s Moving Images and Dutch 17th-Century Painting
Raymond Luca
 
Throughout her career, the Belgian filmmaker Chantal Akerman accelerated the erosion of boundaries separating the visual arts that has fuelled our current moment of mixed media. This article, though, takes different approach to Akerman’s work. It argues that her cinema borrows from a historical type of viewing experience just as much as it pioneered new ones. Specifically, I argue that Akerman drew on the painterly language of seventeenth-century Dutch still-lifes through her use of stillness, texture, space, light, and (self-)portraiture that undermines mainstream modes of visual representation as developed by Renaissance art. Relying on contemporary film theory, art history, and Akerman’s own idiosyncratic style and biography, this essay yields a productive, if unexpected, point of comparison between the aesthetic practices of early modern Dutch painting and Akerman’s moving images. Comparing several of Akerman’s pictures to a handful of masterpieces of seventeenth-century Dutch art, this work joins a growing discourse among visual theorists in exploring connections between cinema and painting more broadly.
 
 
The Dutch Language in Japan (1600-1900): A Cultural and Sociolinguistic Study of Dutch as a Contact Language in Tokugawa and Meiji Japan
by Christopher Joby (Leiden/Boston: Brill, 2021)
Reinier Salverda

https://www.tandfonline.com/doi/full/10.1080/03096564.2021.1943623

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