Spiegels van Sophia

Deinsen, Lieke van

doi:10.2307/j.ctv1595mzm.5

Cited by 2 publications

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“…47 Jan Punt, whose activities alternated between acting and graphic arts in collaboration with Jacob de Wit, had made a name for himself by participating in the decoration of the poets' cabinet Panpoëticon Batavûm. 48 In 1751, his large-scale project, however, with reproductions of the lost paintings by Rubens for the ceiling of the Antwerp Jesuit church, did not show the expected success. 49 Thus, Ben Albach suspects that economic reasons led Punt to embark on such other large-scale projects as the in-folio prints of the praalbed and the funeral procession of 1752.…”

Section: Staging the Deceased Stadtholder The Rouwkamer Designed By P...mentioning

confidence: 99%

Mourning the Prince of Orange

Schwartz¹

2022

Neth. Yearb. Hist. Art

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Anna Lisa Schwartz analyses the rites and expressions surrounding the death and funeral of Prince Willem IV on 22 October 1751. Schwartz’s essay clearly illustrates that the Protestant Reformation did not see an end to lavish funeral ceremonies, funerary decorations, or mourning chapels. Willem died a stadtholder of all seven provinces of the Dutch Republic, a position he had achieved only four years before as the first scion of both branches of the Nassau dynasty (the Frisian and the Orange). Schwartz examines a plethora of visual and literary expressions: the decorations of the mourning hall; the catafalque; and funerary poems, medals, and books, the latter containing both descriptions and etchings of all funeral ceremonies. Tellingly, visual references were made to obsequies of Willem’s predecessors belonging to the Orange branch: its founder, William the Silent; his sons Maurits and Frederik Hendrik; and Willem’s predecessor, the king-stadtholder Willem III.

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Section: Staging the Deceased Stadtholder The Rouwkamer Designed By P...mentioning

confidence: 99%

Mourning the Prince of Orange

Schwartz¹

2022

Neth. Yearb. Hist. Art

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Female Faces in the Fraternity. Printed Portraits Galleries and the Construction and Circulation of Images of Learned Women in the Republic of Letters

van Deinsen

2024

New Transculturalisms, 1400–1800

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How women tried to secure a place in the early modern male-dominated intellectual field has been the subject of numerous studies over the last decade. The most visible sign of their growing presence in the intellectual field—their printed portraits—has, however, received surprisingly little critical attention. This chapter discusses printed portraits of learned women as vehicles of public image in the male-dominated Republic of Letters. It unravels how the inclusion of the likenesses of four prominent contemporary learned women—Luise Gottsched, Emilie Du Châtelet, Laura Bassi and Magdalena Sibylla Rieger—in one of the most ambitious printed portrait galleries of the eighteenth century, the Bilder-Sal, contributed to their representation as intellectual authority in the Republic of Letters. Especially due to their visual nature their portraits proved ideal vehicles to readily disseminated representations of female intellectual authority across regional, national and linguistic borders, finding their ways to the study rooms of prominent scholars. As such, they contributed to a more inclusive image of the intellectual across Europe. It remained, however, a fine line between embodying intellectual authority and maintaining female modesty. Besides reflections on their intellectual capacities, these women’s portraits continued to spark discussions on their physical—and evidently female—appearances.

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Spiegels van Sophia

Cited by 2 publications

References 0 publications

Mourning the Prince of Orange

Mourning the Prince of Orange

Female Faces in the Fraternity. Printed Portraits Galleries and the Construction and Circulation of Images of Learned Women in the Republic of Letters

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