Dutch Renaissance Research Articles

The Development of a Poetic Tradition. A Study of a Dutch Renaissance Poetry Corpus

The present paper introduces a corpus of Dutch Renaissance poetry which was automatically annotated by using neural networks. The analysis of the annotations provides a clear picture of the process of implementing the new poetic form into Dutch poetic tradition, and of its different stages. The development of iambic metre was a gradual process that required various attempts; this can be well observed when comparing Dutch poems from a 100 year time window. While syllabic instances can be observed among the first attempts, most of the earlier poems are not isosyllabic and have a rather varied syllable length. This study shows that isosyllabicity developed together with iambicity. Finally, automatic poetry annotation allows for testing and validating theoretical hypotheses and for investigating literary questions with the aid of large amount of data.

Insects as interactants in artists’ minds: Symbols and anti-symbols

Les insectes sont l'un des groupes animaux aux interactions diverses avec les humains, qu'elles soient positives ou negatives. Les representations qu’ils inspirent aux artistes refletent la facon singuliere dont ils sont percus par les societes et le rapport complexe que ces dernieres entretiennent avec eux. Cette relation a deja ete analysee pour les principaux groupes d'insectes dits "typiques". Les plus visibles d’entre eux ou ceux disposant d'une metamorphose complete – abeilles, coleopteres, papillons, mouches – ont toujours fascine et intrigue les humains. Mais qu’en est-il des insectes infiniment petits et moins seduisants a priori ? Avec les pucerons pour exemples, nous montrerons qu’ils ont egalement nourri l’imaginaire artistique a differentes epoques et que, paradoxalement, leur invisibilite est le vecteur meme de l’interet qu’on leur porte. Je me propose de dresser un rapide panorama des relations reciproques entre scientifiques et artistes sur le motif du puceron. De la Grece antique a internet, d’Aristote a Debord en passant par Brueghel, Bonnet, Delacroix, Hugo, Beauvoir ou Vian, il s’agit d’interroger la variete des propositions esthetiques et symboliques que ce groupe d’insectes a pu engendrer.

Um humanista “além-fronteiras”: um estudo sobre Damião de Góis

Desejamos, neste artigo, realizar um exercício de interpretação de um pequeno conjunto de textos do humanista português – Damião de Góis (1504-1572) – tendo em vista a trajetória política do Reino de Portugal no século XVI. Processado pelo Tribunal da Inquisição, Góis pareceu ter deixado registrado, em seus textos e no processo, algumas perspectivas e visões de mundo que dialogam com Erasmo de Roterdã e com um Humanismo do Norte. Por sua vez, sua trajetória de vida e algumas anotações feitas pelos inquisidores no processo podem permitir lançar algumas hipóteses sobre como a ortodoxia católica rompeu com o Humanismo ao longo do XVI. Um cristianismo interno e tolerante – mais ligado à Devotio Moderna – foi transformado em luteranismo e, depois, perseguido.

Um humanista “além-fronteiras”: um estudo sobre Damião de Góis

Desejamos, neste artigo, realizar um exercício de interpretação de um pequeno conjunto de textos do humanista português – Damião de Góis (1504-1572) – tendo em vista a trajetória política do Reino de Portugal no século XVI. Processado pelo Tribunal da Inquisição, Góis pareceu ter deixado registrado, em seus textos e no processo, algumas perspectivas e visões de mundo que dialogam com Erasmo de Roterdã e com um Humanismo do Norte. Por sua vez, sua trajetória de vida e algumas anotações feitas pelos inquisidores no processo podem permitir lançar algumas hipóteses sobre como a ortodoxia católica rompeu com o Humanismo ao longo do XVI. Um cristianismo interno e tolerante – mais ligado à Devotio Moderna – foi transformado em luteranismo e, depois, perseguido.

«ЗБИРАННЯ» АНТИЧНИХ ПРИСЛІВ’ЇВ У НІДЕРЛАНДАХ ПЕРШОЇ ПОЛОВИНИ XVI СТ. ТА ФОРМУВАННЯ НОВОЇ ВІЗУАЛЬНОСТІ

This paper focuses on the study of the ways in which the revival of reintegration into European culture, particularly in the culture of the Netherlands, ancient proverbs and sayings – the so-called "adagia" – took place. Both Humanists’ collections of adagia and artistic depictions of proverbs fall within the scope of our research. Firstly, we will show how the great preoccupation with ancient proverbs shifted toward vernacular ones. Secondly, we will explore how proverbial expressions were transposed into pictures. Erasmus of Rotterdam, the famous Dutch humanist was among the first ones to publish a collection of proverbs and sayings in Latin taken mainly from the Greek and Roman literature. Soon, his work was followed by bilingual collections (in French and Flemish). The success of the adagia collections published by Dutch and German humanists inspired artists to depict the most popular sayings in their paintings. Consequently, proverbs became a part of the “new visuality”. By this term, we mean a new secular imagery, which replaced religious gothic imagery in the last decade of the 15th century. As one can notice, picturing ancient and vernacular proverbs was in vogue in the second half of the 16th century at a time of rapid dissemination of ideas of the Reformation in the Netherlands and the first performances of opponents of the Icon worship – iconoclasts. Religious confrontations forced Dutch artists to search for the new themes and iconographic schemes. The themes and their iconography had to be convenient as to Protestant so to Catholic clients. At the same time, they should not have contradicted the artists’ religious beliefs. As stated by K. Jonckheere, one can call these efforts of artists to legitimize art after the Iconoclastic Fury and to find a way of pragmatical coexistence of opposite religious views “a quest for pictorial ecumenism”. Pictured proverbs complemented this new, “ecumenical” imagery, the imagery that was convenient to all people regardless of their religious views. Therefore, ancient and vernacular proverbs have become an integral part of both the Dutch Renaissance literature, and the "ecumenical" art, the religious art beyond borders.

The Dutch Renaissance in a Straightjacket

During the last decade, research on Renaissance art and architecture in the northern Netherlands has tried to overcome persistent late nineteenth-century concepts connected to the nation-state, and started to adopt more dynamic ideas of culture and the arts in the period between 1450 and 1620. Especially the geographical divide between Flanders and the Northern Netherlands is increasingly contested, and more attention is being paid to the exchange between the Netherlands and Italy. This more international outlook has resulted in publications on artists such as Adriaen de Vries and Abraham Bloemaert, and architects such as De Keyser. Still, this field is overshadowed by the public attention paid to the Dutch Golden Age, and its essentialist interpretation continues to have an impact on the way the preceding period is studied. As a result, there still exists a rather fragmented idea of what ‘Renaissance’ means with respect to the arts in the Netherlands.

Education of the young according to the humanist, Johann Funger

Johann Funger is a Dutch renaissance scholar, author of “The Correct Training and Education of the Young”, published in Antwerp (Belgium) by Christoffel Plantin in 1584. The original Latin text has recently been translated into Spanish and consists of thirty chapters. In his book, Funger deals with the contents of the studies, the intellectual habits of pupils, the virtues they should attain and the vices they should avoid.

The Hague as the disputed showcase of the Dutch State and Dutch national identity 1814–1917

The central question of this article is What does the urban and architectural design of The Hague tell us about the Dutch political and administrative ambitions in representing the state and national identity from 1814–1917? In this period many European capital cities grew fast, governmentas acquired new ambitions and new powers, and nationalism spread. Many governments developed impressive national building activities. In The Netherlands there was hardly any urge to emphasize the state power by transforming the urban landscape even in its governmental center The Hague. One reason is that the dominant liberal politics refrained from social and economic interventions. A second reason is that the various population groups had difficulty to agree on one national building style. Accompanied by a strong ideological discussion, the Dutch polity finally succeeded in producing a governmental architecture (from ca. 1880–1815) in the so-called Dutch Renaissance style. Although the different population groups (orthodox Protestants, Liberals, Catholics) could, each for their own reasons, accept this national style, its characteristics (picturesque, simple and small) lent itself poorly to public governmental commissions on a grand scale.

’n Retoriese analise van die vyf lykdigte in T.T. Cloete se <i>Allotroop</i>

A rhetorical analysis of the five funerary poems in T.T. Cloete’s AlloiroopThis article works from the premise that these poems form part o f a tradition that can he traced back to the funerary poetry of the Dutch Renaissance and from there to the funeral orations of Classical times. After referring to the current revival of interest in rhetoric, attention is given to the role which rhetoric played in Renaissance poetics and the influence it had on the practice of writing funerary poetry. The funerary poems in Cloete's Allotroop are then analysed, making use of the Renaissance descriptions of and prescriptions for funerary poetry researched by S.F. Witstein in Funeraire poëzie in de Nederlandse Renaissance. These analyses prove that Cloete’s poems make use of the elements basic to the Renaissance funerary poem and the classical funeral oration namely praise (laus), mourning (luctus) and consolation (consolatio) and that the rhetorical terminology devised centuries ago can still be useful in the reading of these poems.

Stilna orientacija glasbe protestantizma na Slovenskem

Stilna orientacija glasbe protestantizma na Slovenskem

Le parallèle avec l'Antiquité dans la littérature hollandaise de la Renaissance

This study deals with the parallel with Antiquity, the comparison of people, objects and events found in the Bible and the classical antiquity on the one hand, and contemporary times on the other. The exact function of such a parallel was closely connected to the ideas then prominent on history. In countries such as France or Italy where Renaissance humanists and artists currently believed in the cyclical character of history, one compared the objects and contingencies of classical antiquity to objects and contingencies of contemporary times in order to decide which came nearer the supra-temporal standard of perfection. The use of the parallel could not allow to provide a definite evidence of the universal worth of the compared object. But this possibility existed in the Dutch Renaissance which believed in a linear conception of history. An accurate comparison with Antiquity meant a praise or, in case of a controversial object, a justification.

Arent Passer

Arent Passer

Tyresögraven i Stockholms Storkyrka

Summary A drawing in the Tido archives is proved to have reference to a tombstone raised in honour of Olof Ryning, of Tyreso († 1610), and his mother († 1612) and sister (∗ 1594) in the Storkyrka, Stockholm. The tombstone is roughly executed, but the design gives evidence of a fine piece of Dutch renaissance ornamentation. It states that the artist was Hans Fleming, born at Namur, but since the end of the 16th cent, working as a master‐builder and sculptor in Sweden, principally in Ostergotland. He replaces the classicizing Floris decoration by the national Dutch scroll‐shaped cartouche, thereby introducing a vigorous Scandinavian aesthetic tendency, which survives, in spite of ever‐increasing competition on the part of the classicist Franco‐Italian style, throughout the 17th cent.