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Combining historical, historiographical, museological, and touristic analysis, this study investigates how late medieval and early modern women of the Low Countries expressed themselves through texts, art, architecture and material objects, how they were represented by contemporaries, and how they have been interpreted in modern academic and popular contexts. Broomhall and Spinks analyse late medieval and early modern women's opportunities to narrate their experiences and ideas, as well as the processes that have shaped their representation in the heritage and cultural tourism of the Netherlands and Belgium today. The authors study female-authored objects such as familial and political letters, dolls' houses, account books; visual sources, funeral monuments, and buildings commissioned by female patrons; and further artworks as well as heritage sites, streetscapes, souvenirs and clothing with gendered historical resonances. Employing an innovative range of materials from written sources to artworks, material objects, heritage sites and urban precincts, the authors argue that interpretations of late medieval and early modern women's experiences by historians and art scholars interact with presentations by cultural and heritage tourism providers in significant ways that deserve closer interrogation by feminist researchers.
Korean edition of The Miniaturist: A Novel by Jessie Burton. The book won the 2014 Waterstones Book of the Year award and the author Jessie Burton won the 'new writer of the year' award at the 2014 National Book Awards. From the Back Cover; On a brisk autumn day in 1686, eighteen-year-old Nella Oortman arrives in Amsterdam to begin a new life as the wife of illustrious merchant trader Johannes Brandt. But her splendid new home is not welcoming... In Korean. Annotation copyright Tsai Fong Books, Inc. Distributed by Tsai Fong Books, Inc.
The novels of Daniel Defoe are set in years during which two Anglo-Dutch wars were fought, a Dutch king took over the English throne, and the primacy of the Dutch in Northern European commerce was in the process of being overtaken by the English. At the time of these novels’ publication, the geo-physical, political and cultural achievements of the United Provinces were still remarked upon as extraordinary, while so many people had travelled between the two countries that Dutch communities in England and English communities in the United Provinces were unremarkable. Defoe’s personal, professional and political interests lay parallel and very close to stereotypically Dutch affairs, such as tolerance of dissenting Christianity, the promotion of trade as the source of a country’s wealth, and Court Whig (specifically Williamite) interests. In spite of this, the many Dutch elements in his novels are not always evident, and the body of his fiction has not previously been examined from this perspective. Defoe and the Dutch: Places, Things, People explores what English readers of seventeenth and early eighteenth century English fiction and non-fiction knew about the Dutch, what images of the Dutch they were exposed to, and what significance these images may have had. Against that background, it investigates how Dutch elements are used or referred to in nine novels attributed to Daniel Defoe. From the ubiquity of Dutch ships and the Dutch bill of exchange to the disallowing of Dutch martial heroism and the exchange of gifts in Dutch weddings, images and associations of Dutch places, things and people in Defoe’s novels are woven into the fabric of the narratives. The novels’ uses of these and many other Dutch motifs or images are shown to avoid crude or negative stereotypes, and to be complex, subtle, and sensitive to the real-life events and contexts of the fictions, while also participating in a mode of representation that is overridingly emblematic.
A masterful deciphering of an extraordinary art object, illuminating some of the biggest questions of the eighteenth century The Throne of the Great Mogul (1701–8) is a unique work of European decorative art: an intricate miniature of the court of the Mughal emperor Aurangzeb depicted during the emperor’s birthday celebrations. It was created by the jeweler Johann Melchior Dinglinger in Dresden and purchased by the Saxon prince Augustus the Strong for an enormous sum. Constructed like a theatrical set made of gold, silver, thousands of gemstones, and amazing enamel work, it consists of 164 pieces that together tell a detailed story. Why did Dinglinger invest so much time and effort in making this piece? Why did Augustus, in the midst of a political and financial crisis, purchase it? And why did the jeweler secrete in it messages wholly unrelated to the prince or to the Great Mogul? In answering these questions, Dror Wahrman, while shifting scales from microhistory to global history, opens a window onto major historical themes of the period: the nature of European absolutism, the princely politics of the Holy Roman Empire, the changing meaning of art in the West, the surprising emergence of a cross-continental lexicon of rulership shared across the Eastern Hemisphere, and the enactment in jewels and gold of quirky contemporary theories about the global history of religion.
Johannes Vermeer's luminous paintings are loved and admired around the world, yet we do not understand how they were made. We see sunlit spaces; the glimmer of satin, silver, and linen; we see the softness of a hand on a lute string or letter. We recognise the distilled impression of a moment of time; and we feel it to be real. We might hope for some answers from the experts, but they are confounded too. Even with the modern technology available, they do not know why there is no evidence of any preliminary drawing; why there are shifts in focus; and why his pictures are unusually blurred. Some wonder if he might possibly have used a camera obscura to capture what he saw before him. The few traces Vermeer has left behind tell us little: there are no letters or diaries; and no reports of him at work. Jane Jelley has taken a new path in this detective story. A painter herself, she has worked with the materials of his time: the cochineal insect and lapis lazuli; the sheep bones, soot, earth, and rust. She shows us how painters made their pictures layer by layer; she investigates old secrets; and hears travellers' tales. She explores how Vermeer could have used a lens in the creation of his masterpieces. The clues were there all along. After all this time, now we can unlock the studio door, and catch a glimpse of Vermeer inside, painting light.
A “comprehensive and enjoyable” guide to the centuries-long history of dolls’ houses and how they illuminate our past (Books Monthly). Dolls’ houses are tiny slices of social history that give us a fascinating glimpse into domestic life over the last three hundred years. Through text and photos, Nicola Lisle explores the origins and history of dolls’ houses and their furnishings, from the earliest known dolls’ house in sixteenth-century Bavaria to the present, and looks at how they reflect the architecture, fashions, social attitudes, innovations, and craftsmanship of their day. She discusses the changing role of dolls’ houses and highlights significant events and people to give historical context, as well as taking a look at some of the leading dolls’ house manufacturers such as Silber & Fleming and Lines Brothers Ltd (later Triang). Included are numerous examples of interesting dolls’ houses, the stories behind them, and where to see them—including famous models such as Queen Mary’s spectacular 1920s dolls’ house at Windsor Castle. There is also a chapter on model towns and villages, which became popular in the twentieth century and also give us a window on the past by replicating real places or capturing scenes typical of a bygone era, plus advice for dolls’ house collectors, a detailed directory of places to visit, a timeline of dolls’ house history, and recommended further reading.
A Sunday Times bestseller and Richard and Judy Bookclub pick, The Confession is an absorbing tale of secrets and self-discovery from Jessie Burton, the million-copy bestselling author of The Miniaturist and The Muse. When Elise Morceau meets the writer Constance Holden, she quickly falls under her spell. Connie is sophisticated, bold and alluring – everything Elise feels she is not. She follows Connie to LA, but in this city of strange dreams and razzle-dazzle, Elise feels even more out of her depth and makes an impulsive decision that will change her life forever. Three decades later, Rose Simmons is trying to uncover the story of her mother, who disappeared when she was a baby. Having learned that the last person to see her was a now reclusive novelist, Rose finds herself at the door of Constance Holden’s house in search of a confession . . . 'Without doubt one of the best novels of recent years' - Elizabeth Day, author of How to Fail.