Books & Volumes by Lieke van Deinsen
The Panpoëticon Batavûm was an eighteenth-century cabinet that housed the portraits of over 300 D... more The Panpoëticon Batavûm was an eighteenth-century cabinet that housed the portraits of over 300 Dutch writers. The remarkable collection was started by the wealthy Amsterdam painter Arnoud van Halen (1673-1732) around the beginning of the century. It offered tangible proof of the power of Dutch literature in a period that has traditionally been described in terms of the Republic's decline, Frenchification and the loss of cultural identity. This helps to explain the popularity of the Panpoëticon Batavûm, which attracted many visitors and was the subject of several books. Lieke van Deinsen traces the history of the collection, offering valuable insights into eighteenth-century engagement with the literary past, the growing fascination with the author behind the work and the emancipation of women writers. 'The Panpoëticon Batavûm' is the first volume in the Rijksmuseum Studies in History.
Books by Lieke van Deinsen
De literaire canon, de lijst met de belangrijkste schrijvers en werken, houdt geregeld de gemoede... more De literaire canon, de lijst met de belangrijkste schrijvers en werken, houdt geregeld de gemoederen bezig. Lijstjeswoede en canonverkiezingen blijken echter van alle tijden. Omstreeks 1700 richtte de Amsterdamse schilder Arnoud van Halen bijvoorbeeld het Panpoëticon Batavûm op, een verzamelaarskabinet waarin gedurende de achttiende eeuw de portretten van ruim 300 Nederlandse schrijvers werden samengebracht. Diverse tijdgenoten bezochten de verzameling en waren vol lof over dit monument voor de Nederlandse literaire canon. De populariteit van het Panpoëticon illustreert de betrokkenheid bij het literaire verleden in de achttiende eeuw. In de vertrouwde omgeving van verzamelingen en bibliotheken gingen literatuurliefhebbers op zoek naar de hoogtepunten van de Nederlandse letteren.
Literaire erflaters beschrijft deze initiatieven tot literaire canonvorming vanuit een breed cultuurhistorisch perspectief en werpt een nieuw licht op de omgang met het literaire verleden in een eeuw die hoofdzakelijk is beschreven in termen van culturele crisis.
Articles by Lieke van Deinsen
The early modern commercial book market was the cradle of authorial branding. Authors and publish... more The early modern commercial book market was the cradle of authorial branding. Authors and publishers increasingly explored the construction of authorial brands: a set of recurring and recognizable characteristics associated with authorial images. This chapter looks at branding in the context of the media landscape of the early modern Dutch Republic. Authorial branding developed over time in conjunction with new conceptions of the individual, technological innovations, and the changing role of-amongst others-patrons and publishers. Analyses of the branding of Jan Jansz. Starter (1593-1626) and Sara Maria van der Wilp (1716-1803) illustrate how the non-formalized, dynamic constellation of the literary eld inspired various agents to create a range of (multifaceted) author brands on the spectrum 'economic-symbolic'.
Het Panpoëticon Batavûm en de vroegste Nederlandse literatuurgeschiedschrijving Kernwoorden: lite... more Het Panpoëticon Batavûm en de vroegste Nederlandse literatuurgeschiedschrijving Kernwoorden: literatuurgeschiedschrijving -Panpoëticon Batavûmcanonvorming -auteursportretten 'Naamrol der Nederlandsche Dichteren en Dichteressen, behoorende tot het Panpoëticon Batavûm, uitgebreid met eene aanwijzing van der zelver dichtwerken, geboorte-en sterfdagen, nevens eenige andere wetenswaardige omstandigheden, dus verre in ordre gebracht, door Michiel de Roode'. Zo luidt de titel van een recent ontdekt handschrift, dat berust in de Erfgoedbibliotheek Hendrik Conscience te Antwerpen. * Het had het eerste Nederlandse literatuurlexicon kunnen opleveren.
Quaerendo, 2019
This article discusses printed author portraits of women writers as vehicles of public image in t... more This article discusses printed author portraits of women writers as vehicles of public image in the male-dominated eighteenth-century book market. It shows how Dutch women writers responded to the growing demand for author portraits and used their portrait engravings to shape their public image. It proved to be a fine line between showcasing literary aspirations and maintaining female modesty.
Jaarboek De Achttiende Eeuw, 2019
Elizabeth Wolff en de (on)mogelijkheden van haar auteursportret 1 Kernwoorden: Elizabeth Wolff -a... more Elizabeth Wolff en de (on)mogelijkheden van haar auteursportret 1 Kernwoorden: Elizabeth Wolff -auteursportretten -vrouwelijk schrijverschap -(zelf)representatie -boekillustraties Wel hoe! wat's dit? -Verbreekt ge uw woord? 't Portrait, ons toegezegd, is niet in 't Boek te vinden.
Jaarboek De Zeventiende Eeuw , 2019
JAARBOEK 2019 Nieuw onderzoek 't Samen-sprake tussen Welhem, Gheen-aert en Reyn-hart uit: J... more JAARBOEK 2019 Nieuw onderzoek 't Samen-sprake tussen Welhem, Gheen-aert en Reyn-hart uit: Jacob Cats, Aenmerckinge op de tegenwoordige steert-sterre, ende den loop deser tijden so hier als in ander Landen (1619). Koninklijke Bibliotheek, Den Haag, Knuttel 3003.
Early Modern Low Countries , 2019
‘It is a pity that not someone like Christina Leonora de Neufville found the time to take on that... more ‘It is a pity that not someone like Christina Leonora de Neufville found the time to take on that work’, translator and author Elizabeth Wolff stated when she set eyes on one of the Dutch translations of Voltaire’s Mahomet (1741) in October 1770. Wolff’s comments on these translations provide fascinating insights into some of the underlying dynamics of the eighteenth-century Dutch literary marketplace, where translations made up an important part of the literary production. As recent studies in the field of translation studies have stressed, early modern translations seldom proved to be straightforward renditions of the original but provided eager and upcoming authors to make their claim to literary fame as the translator of more renowned authors. Translating in particular turned out to be a unique opportunity for many early modern European women writers, who often still struggled to establish their names. The case of the Dutch Republic, with its advanced print culture and strongly internationally oriented book market, however, remains hitherto understudied.
This article examines the role translation played in the careers of three Dutch women writers by showing how they used their role as translators to establish and renegotiate their name and (literary) authority, often by interacting directly with the reputation of the translated author. We will use the concept of ‘relational authority’ to address the ways in which Wolff herself, as well as fellow authors Christina Leonora de Neufville and Margaretha Cambon-Van der Werken, used translation as a textual platform to convey their intellectual posture and voice. Our analysis will focus specifically on both the textual and visual dimension of their public image-building by considering how ‘relational’ representations appear in paratexts and portraits respectively.
Spiegel der Letteren, 2018
The literary fame of Lucretia Wilhelmina van Merken (1721-1789) has been described in terms of ri... more The literary fame of Lucretia Wilhelmina van Merken (1721-1789) has been described in terms of rise and fall. In the decades following her death, her reputation rapidly changed from being one of the most popular and well-respected Dutch authors to a somewhat boring representative of the old-fashioned eighteenth-century literature. In 1828, over thirty years later, the Amsterdam Genootschap voor Uiter¬lijke Welspre¬kendheid managed, nevertheless, to erect a monument in honour of Van Merken and her husband, Nicolaas van Winter (1718-1795), in the Oude Kerk in Amsterdam. But why? A hitherto unknown manuscript in the collection of the Koninklijk Oudheidkundig Genootschap in the Rijksmuseum sheds new light on the realisation of this project and allows us to place the initiative in the context of the growing desire for public memorials in the early nineteenth century and the still complicated relation between female authorship and celebrity culture.
The Rijksmuseum Bulletin, 2019
In 1878 the Rijksmuseum acquired two objects related to the violent death of Johan van Oldenbarne... more In 1878 the Rijksmuseum acquired two objects related to the violent death of Johan van Oldenbarnevelt: the executioner’s sword allegedly used to behead the Land’s Advocate and an eighteenth-century album of poems about the weapon of execution. The article describes how these objects have functioned in the Oldenbarnevelt memory culture and shows how they have taken on new functions and meanings over the centuries – from a possible executioner’s weapon, to a republican and then national relic, to an objet de mémoire.
The authenticity of the portrait of the Amsterdam poet Roemer Pieterszoon Visscher (1547-1620) – ... more The authenticity of the portrait of the Amsterdam poet Roemer Pieterszoon Visscher (1547-1620) – depicted as an old man with a beard and distinctive hat – has been a subject of debate ever since it was printed in
Jacobus Scheltema’s Anna en Maria Tesselschade, de dochters van Roemer Visscher (1808). Although the portrait formed the basis for the likeness of Roemer Visscher in popular nineteenth-century depictions
of the mythical Muiderkring, its accuracy was quickly put into question. In 1887, the matter resulted in a heated argument between Joseph Alberdingk Thijm (1820-1889) and Nicolaas de Roever (1850-1893) in the journal De Amsterdammer. The latter suspected that the iconic portrait was one of many historical falsifications of Jan Stolker (1724-1785) and was thereafter falsely incorporated into contemporary images that featured literary and intellectual frontrunners of the nation’s Golden Age. According to De Roever, a far more likely representation of the seventeenth-century poet and
his coat of arms was included on the militia piece Schutters van de compagnie van kapitein Egbert Vinck (1586). Unfortunately, the painting was lost and the composition survived only through a drawing by Jacob Colijn from almost a century later. By that time only a sketchy en profil portrait of Roemer Visscher was available. Due to a lack of conclusive evidence, the dispute eventually ended in an impasse. Although later research supported De Roever’s suspicions and rejected the well-known
portrait of Roemer Visscher as an accurate likeness, knowledge about the real portrait of the popular poet was still limited. However, a long lost early eighteenth-century portrait by Arnoud van Halen (1683-1732) sheds
new light on the subject matter. The small oval painting was part of the so-called Panpoëticon Batavûm, an eighteenth-century collection of author’s portraits placed in a wooden cabinet, which features the highlights of Dutch literary and intellectual history. By presenting this portrait of Roemer Visscher, we can now, for the first time, connect the face with the words of one of the leading early modern Dutch poets.
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Books & Volumes by Lieke van Deinsen
Books by Lieke van Deinsen
Literaire erflaters beschrijft deze initiatieven tot literaire canonvorming vanuit een breed cultuurhistorisch perspectief en werpt een nieuw licht op de omgang met het literaire verleden in een eeuw die hoofdzakelijk is beschreven in termen van culturele crisis.
Articles by Lieke van Deinsen
This article examines the role translation played in the careers of three Dutch women writers by showing how they used their role as translators to establish and renegotiate their name and (literary) authority, often by interacting directly with the reputation of the translated author. We will use the concept of ‘relational authority’ to address the ways in which Wolff herself, as well as fellow authors Christina Leonora de Neufville and Margaretha Cambon-Van der Werken, used translation as a textual platform to convey their intellectual posture and voice. Our analysis will focus specifically on both the textual and visual dimension of their public image-building by considering how ‘relational’ representations appear in paratexts and portraits respectively.
Jacobus Scheltema’s Anna en Maria Tesselschade, de dochters van Roemer Visscher (1808). Although the portrait formed the basis for the likeness of Roemer Visscher in popular nineteenth-century depictions
of the mythical Muiderkring, its accuracy was quickly put into question. In 1887, the matter resulted in a heated argument between Joseph Alberdingk Thijm (1820-1889) and Nicolaas de Roever (1850-1893) in the journal De Amsterdammer. The latter suspected that the iconic portrait was one of many historical falsifications of Jan Stolker (1724-1785) and was thereafter falsely incorporated into contemporary images that featured literary and intellectual frontrunners of the nation’s Golden Age. According to De Roever, a far more likely representation of the seventeenth-century poet and
his coat of arms was included on the militia piece Schutters van de compagnie van kapitein Egbert Vinck (1586). Unfortunately, the painting was lost and the composition survived only through a drawing by Jacob Colijn from almost a century later. By that time only a sketchy en profil portrait of Roemer Visscher was available. Due to a lack of conclusive evidence, the dispute eventually ended in an impasse. Although later research supported De Roever’s suspicions and rejected the well-known
portrait of Roemer Visscher as an accurate likeness, knowledge about the real portrait of the popular poet was still limited. However, a long lost early eighteenth-century portrait by Arnoud van Halen (1683-1732) sheds
new light on the subject matter. The small oval painting was part of the so-called Panpoëticon Batavûm, an eighteenth-century collection of author’s portraits placed in a wooden cabinet, which features the highlights of Dutch literary and intellectual history. By presenting this portrait of Roemer Visscher, we can now, for the first time, connect the face with the words of one of the leading early modern Dutch poets.
Literaire erflaters beschrijft deze initiatieven tot literaire canonvorming vanuit een breed cultuurhistorisch perspectief en werpt een nieuw licht op de omgang met het literaire verleden in een eeuw die hoofdzakelijk is beschreven in termen van culturele crisis.
This article examines the role translation played in the careers of three Dutch women writers by showing how they used their role as translators to establish and renegotiate their name and (literary) authority, often by interacting directly with the reputation of the translated author. We will use the concept of ‘relational authority’ to address the ways in which Wolff herself, as well as fellow authors Christina Leonora de Neufville and Margaretha Cambon-Van der Werken, used translation as a textual platform to convey their intellectual posture and voice. Our analysis will focus specifically on both the textual and visual dimension of their public image-building by considering how ‘relational’ representations appear in paratexts and portraits respectively.
Jacobus Scheltema’s Anna en Maria Tesselschade, de dochters van Roemer Visscher (1808). Although the portrait formed the basis for the likeness of Roemer Visscher in popular nineteenth-century depictions
of the mythical Muiderkring, its accuracy was quickly put into question. In 1887, the matter resulted in a heated argument between Joseph Alberdingk Thijm (1820-1889) and Nicolaas de Roever (1850-1893) in the journal De Amsterdammer. The latter suspected that the iconic portrait was one of many historical falsifications of Jan Stolker (1724-1785) and was thereafter falsely incorporated into contemporary images that featured literary and intellectual frontrunners of the nation’s Golden Age. According to De Roever, a far more likely representation of the seventeenth-century poet and
his coat of arms was included on the militia piece Schutters van de compagnie van kapitein Egbert Vinck (1586). Unfortunately, the painting was lost and the composition survived only through a drawing by Jacob Colijn from almost a century later. By that time only a sketchy en profil portrait of Roemer Visscher was available. Due to a lack of conclusive evidence, the dispute eventually ended in an impasse. Although later research supported De Roever’s suspicions and rejected the well-known
portrait of Roemer Visscher as an accurate likeness, knowledge about the real portrait of the popular poet was still limited. However, a long lost early eighteenth-century portrait by Arnoud van Halen (1683-1732) sheds
new light on the subject matter. The small oval painting was part of the so-called Panpoëticon Batavûm, an eighteenth-century collection of author’s portraits placed in a wooden cabinet, which features the highlights of Dutch literary and intellectual history. By presenting this portrait of Roemer Visscher, we can now, for the first time, connect the face with the words of one of the leading early modern Dutch poets.
The 17th and 18th centuries have often been described as a decisive period in terms of professionalization as well as disciplinary formation and/or consolidation in the arts and sciences. In the course of this period, learned women increasingly articulated an awareness of their public image and were actively involved in modelling these representations. There is a growing body of scholarship on such individual women’s (self)representation as intellectuals, that invites us to draw out its implications for early-modern cultural history more broadly.