The authors of this volume examine various fields of cultural discourse in the Netherlands of the sixteenth century: the political, commercial, religious, artistic, and sensory domains, and less obviously metaphysical properties like time and space. What defined the Low Countries were not its borders and its territories but its cities, and their economies dominated political relations. A dense network of large cities and small towns developed hand in hand with a broad range of textile and luxury industries. In Antwerp, culture was commerce: its art and printing industries catered to much of the Western world and, at the same time, carved a confident self-image celebrating the liberal arts as a means of social and self-improvement. Antwerp is omnipresent in this book, with essays on its painting, printing, politics, and public festivals. But other cities such as Bruges, Leuven, and Leiden also figure prominently. It was precisely the interconnectedness of urban centers, large, middle and small, rather than their autonomous character, that defined civic culture in the Low Countries. Among the topics treated are differing notions of urban topography, the dialogue between city and court, issues of censorship, and the sensory and psychological response to texts and images.

This volume of essays derives from a memorable interdisciplinary symposium. At issue were various fundamental questions about the nature of Dutch sixteenth-and seventeenth-century society that fall under three broad categories: civic culture, art, and religion. The fourteen papers presented in this volume offer a number of fascinating insights into these and other questions that, taken together, greatly enrich our perception and understanding of this rich and varied society.

When compiling the short-title catalogue of books printed in the sixteenth-century northern Netherlands from 1541 to 1600, Paul Valkema Blouw was confronted with a large number of ‘problem cases’, such as anonymously and/or surreptitiously printed editions, fictitious printers and undated or falsely dated printed works. By minutely analysing the typefaces, initials, vignettes and other ornaments used, drawing from his extensive knowledge of secondary literature, archival information and his unrivalled typographic memory, he not only managed to attribute a surprising number of these publications to a printer, but also could establish the period of time in which, as well as the places where, they must have been printed. These findings and the ways in which they were reached are described in the present collection of papers. They are of paramount importance to scholars engaged in research of the period concerned, whether in the field of church history, national history or book history

The question of how to understand Bruegel’s art has cast the artist in various guises: as a moralizing satirist, comedic humanist, celebrator of vernacular traditions, and proto-ethnographer. Stephanie Porras reorients these apparently contradictory accounts, arguing that the debate about how to read Bruegel has obscured his pictures’ complex relation to time and history. Rather than viewing Bruegel’s art as simply illustrating the social realities of his day, Porras asserts that Bruegel was an artist deeply concerned with the past. In playing with the boundaries of the familiar and the foreign, history and the present, Bruegel’s images engaged with the fraught question of Netherlandish history in the years just prior to the Dutch Revolt, when imperial, religious, and national identities were increasingly drawn into tension. His pictorial style and his manipulation of traditional iconographies reveal the complex relations, unique to this moment, among classical antiquity, local history, and art history. An important reassessment of Renaissance attitudes toward history and of Renaissance humanism in the Low Countries, this volume traces the emergence of archaeological and anthropological practices in historical thinking, their intersections with artistic production, and the developing concept of local art history.

This volume critically (re-)examines the key building blocks of the construct of the Dutch Golden Age, their origins, the numerous and diverse purposes they have served and their long-lasting cultural and historiographical impact. For a long time, the Dutch Golden Age has been regarded as a historiographical construction or reconstruction dating from the second half of the nineteenth century, when the rise of nationalist and even racialist histories and art histories was intended to promote the principle of a Dutch cultural identity, visible and analysable beyond the vicissitudes of time. This volume shows how the notion of the 'Golden Age', built on the ancient notion of aetas aurea, was constructed by the Dutch and for the Dutch, at the end of the sixteenth century, first to try to justify the theoretically questionable revolt of the Northern Netherlands against Spanish rule, and then to give shape to the new state and the new society created. However, we will see that there is not one but several possible definitions of this Golden Age, and consequently that it cannot be confined to one conception, so that it would be preferable to speak of a multitude of Dutch Golden Ages.

A series of interconnected essays on love and courtship as themes in Dutch art, this study examines pictorial subjects and artists that have never been considered together: paintings and prints of "garden parties" by David Vinckboons and Esaias van de Velde, merry companies by Willem Buytewech, paintings of courting couples observing peasant festivities by Jan Miense Molenaer, two portraits by Frans Hals and two important landscape etchings by Rembrandt. Nevitt places these works in the context of the culture of love at the time, which manifested itself in the social practices of courtship and a variety of amatory texts.

Books offering an overview of Dutch history are few and far between in the English-speaking world. Friso Wielenga's A History of the Netherlands: From the Sixteenth Century to the Present Day fills this gap. It offers a modern, integrated outline of Dutch history from the period in which the country took shape as a geographical, administrative and political entity and undermines the presumption that Dutch history since the 16th century was characterised by political consensus and religious toleration. Domestic and foreign politics take pride of place, interwoven with the broad lines of economic and cultural developments, as Wielenga uses the Netherlands' geographical location and its international relations to better understand the partially tumultuous past and present of this small land on the North Sea. A History of the Netherlands provides an authoritative, comprehensive in-depth survey and will be of great value to students of modern European history.

Historians and art historians provide a critique of existing methodologies and an interdisciplinary inquiry into seventeenth-century Dutch art and culture.

Pieter Bruegel the Elder: Art Discourse in the Sixteenth-Century Netherlands examines Bruegel's later paintings in the context of two contemporary discourses-art theoretical and convivial. Taking a multi-disciplinary approach, the author analyzes a variety of images, texts and historical records to offer a broader understanding of not only the artist, but also of the vibrant artistic dialogue occurring in the Netherlands during the sixteenth century.