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Jacob Duck (C.1600-1667)
The painter Jacob Duck (c.1600-1667) was active mainly in Utrecht, and his rise to success and recognition paralleled the phenomenon known as the Dutch Golden Age. His style of painting is a unique blend of the humor and eroticism found in the works of the Utrecht Caravaggisti with that of the Haarlem painters of Merry Company scenes. He painted mainly genre themes and was a central contributor to the rise and assimilation of both the Guardroom and the Brothel Scene. His paintings are striking due to their high level of theatricality, humor and sexual innuendo, traits he bestowed upon the following generation of Dutch genre painting. This book is the first ever monograph study of Jacob Duck and includes a complete critical catalogue of all his known works of art.
From Criminal to Courtier
The art of the Netherlands (Dutch and Flemish) is unique in Early Modern Europe in its concern for military cruelty against civilians, principally the peasantry. Decimated by time and changes in taste, this popular iconography proves varied and extensive, stretching from Bruegel to and past Rubens. 'Massacres of the Innocents' continue to be a favourite subject through the Eighty Years War, in contrast to ruling-class glorifications of war. Dutch patriotic siege prints lay claim to 'scientific' precision in landscapes free of military terror, while the idea of military conquest is presented as generous rather than cruel in the ever-popular figure of Scipio Africanus. Most of the pictorial material is unfamiliar, some of it even to specialists and never before published; new light is shed on the more familiar phenomena of the civic guard groups and Ter Borch courtier-officers, 'good soldiers' overcoming a bad image.
Unwise Child
1 The kids who tried to jump Mike the Angel were bright enough in a lot of ways, but they made a bad mistake when they tangled with Mike the Angel. They’d done their preliminary work well enough. They had cased the job thoroughly, and they had built the equipment to take care of it. Their mistake was not in their planning; it was in not taking Mike the Angel into account. There is a section of New York’s Manhattan Island, down on the lower West Side, that has been known, for over a century, as “Radio Row.” All through this section are stores, large and small, where every kind of electronic and sub-electronic device can be bought, ordered, or designed to order. There is even an old antique shop, known as Ye Quainte Olde Elecktronicks Shoppe, where you can buy such oddities as vacuum-tube FM radios and twenty-four-inch cathode-ray television sets. And, if you want them, transmitters to match, so you can watch the antiques work.
Jacob My Friend: His 17Th Century Account of the Susquehannock Indians
Jacob My Friend is an unusual name, but this very real person was a most unusual character. Arriving in the New World from Holland before 1650, he became a fur trader with the Susquehannock Indians. He married one of them and had several children. Soon he was a trusted interpreter for the Susquehannocks in their difficult dealings with the Dutch and English. Many of Jacobs exciting and often dangerous activities involving the Indians are recorded in contemporary accounts. Clearly he experienced the ordinary, but often strange events of their daily lives. He was also witness to the disastrous clash between the Indians and Europeans. Through his unique journal, Jacob helps us to see the forgotten history and very different culture of the Susquehannocks.
The Criminal Baroque
TEMPORARY Bergman looks at the representation of criminals in early modern Spanish theatre and the connection between criminality, the portrayal of criminal heroes on stage, and public displays of law enforcement within and outside the playhouse. His main purpose is to see to how Baroque spectacle (a term of art in theatre that refers to a particular event, often in expressions of popular culture) appears either to align itself, work against, or be independent of the social means of control of the day. His main argument is that that the propaganda power of early modern Spanish spectacle has been vastly overstated. Ted L. L. Bergman is a Lecturer in Spanish, University of St Andrews.
