Lea van der Vinde (ed.), Girl with a Pearl Earring, 2013, Published by Fine Arts Museums of San Francisco and Delmonico Books/Prestel.

On the occasion of the exhibition Girl with Pearl Earring with works from the Mauritshuis, at the De Young Museum San Francisco, January 26-June 2, 2013, High Museum of Art, Atlanta, June 22-September 29, Frick Collection, New York, October 22- January 12, 2014. The Mauritshuis in The Hague is quite unique in that its quintessential Dutch “Golden Age” art collection, the building that houses the collection as well as the art collectors are all of real historical significance. This superb book touches on all three and will also serve as the catalogue for an upcoming exhibition in 2013-2014 of the Mauritshuis’ major works across the United States. The book contains essays on the history of the Mauritshuis, foundations of 17th century painting and Johannes Vermeer’s Girl with a Pearl Earring (sometimes referred to as the “Dutch Mona Lisa”). In addition, first-rate reproductions of works from artists such as Adriaen Van Ostade, Gerard Ter Borch, Frans Hals, Rembrandt van Rijn, Johannes Vermeer, Carel Fabritius, Salomon van Ruysdael and Jacob van Ruisdael.

Frederik J. Duparc, Golden: Dutch and Flemish Masterworks from the Rose-Marie and Eijk van Otterloo Collection, (Yale University Press in association with Peabody Essex Museum, Salem, MA and the Mauritshuis, The Hague, Netherlands, 2011).

The Golden Age comes to America! This 404-page volume was published in conjunction with the 2011 Golden exhibition of the Van Otterloo collection at the Peabody Essex Museum, the Fine Arts Museums of San Francisco and the Museum of Fine Arts, Houston. The book includes works by Willem van de Velde the Younger, Jacob van Ruisdael, Jan van der Heyden, Aelbert Cuyp, Willem (Claesz.) Heda, Jan Davidsz. de Heem, Jan Steen, Frans Hals, Gerrit Dou and Rembrandt.

Benjamin Schmidt, Innocence Abroad—The Dutch Imagination and the New World 1570-1670, (Cambridge Univ. Press, 2001).

An academic study of the impact of the Americas on the arts in the Dutch Republic.

Simon Schama, The Embarrassment of Riches—An Interpretation of Dutch Culture in the Golden Age, (Knopf, 1987).

The modern classic on art in the Dutch Republic’s “Golden Age.”

Jim Coddington, John Elderfield and Willem de Kooning, De Kooning: A Retrospective, 2011, (The Museum of Modern Art, New York, 2011).

This book is the catalogue for the De Kooning retrospective exhibition at MoMA (Fall 2011). Born in Rotterdam, De Kooning (1904-1997) entered the US as a stowaway in 1926 and by the late 1940s he had become one of America’s leading abstract expressionists. A contemporary of Jackson Pollock, Arshile Gorky, Mark Rothko and others, he has on occasion been called “the American Picasso”. The MoMA exhibit was the first comprehensive exhibit of De Kooning’s work in more than thirty years. Known for his fascination with the female figure, the retrospective was a great overview of various periods of De Kooning’s career that spanned almost seventy years. The MoMA retrospective –occupying the MoMA’s new 17,00-square foot sixth floor, and exhibiting more than 200 works–was truly a landmark event for one of America’s most prominent 20th century artists. The book/catalogue is an excellent representation of De Kooning’s oeuvre and contains a great number of high-quality reproductions of De Kooning’s major works and informative essays by MoMA curator John Elderfield and other experts. Of course, De Kooning’s life is a unique story in and of itself, very well captured in the biography by Mark Stevens and Annalyn Swan (Knopf, 2004).

Mark Stevens and Annalyn Swan, De Kooning-An American Master, (Knopf, 2004).

A brilliant biography on Dutch-born Willem de Kooning, often referred to as America’s Picasso.

Nicoline van der Sijs, Cookies, Coleslaw and Stoops—The Influence of Dutch on the North American Languages, (Amsterdam University Press, 2009).

From the back cover: “From Santa Claus (named after Dutch folkore saint Sinterklaas) and his sleigh (after the Dutch slee) to a dumbhead talking poppycock, the contributions of the Dutch language to American English are indelibly embedded in some of our most vernacular terms and expressions….”. Van der Sijs traces the introduction of Dutch words into the Americas, and explains their meaning and spread across regions in the U.S. An interesting study not only for those interested in languages and linguistics, filled with all sorts of interesting discoveries. Did you know that in the 2007-2008 academic year no fewer than 915 students were taking Dutch at American universities? And there’s a lot more Dutch in the American language than most of us realize, e.g. boss (derived from “baas”), dollar (“daalder”), brandy (“brandewijn”), pancake (“pannenkoek”), and handler (“handelaar”).

Johan Huizinga (author), Herbert H. Rowen (editor/translator), America: A Dutch Historian’s Vision, from Afar and Near, (originally published in Dutch, re-issued in English by HarperCollins, 1972).

Professor Johan Huizinga (1872-1945) was the Netherlands’ most prominent cultural historian and author of the well-known The Autumn of the Middle Ages (1996, Univ of Chicago Press). Autumn was first translated into English in 1919 and remains one of the most widely read Dutch texts in the United States. Autumn covers life, thought and art in 14th- and 15th-century France and the Netherlands. Other famous Huizinga texts were Dutch Civilization in the Seventeenth Century and Other Essays, Homo Ludens: A Study of the Play-Element in Culture, and Erasmus and the Age of Reformation. Less well-known is Huizinga’s America: A Dutch Historian’s Vision (originally published as Mens en Menigte in America (1918) and Amerika Levend en Denkend (1927)). In the spirit of De Tocqueville, Huizinga records both his apprehension towards and admiration for America. After an extensive visit to the US, he published the second work and contributed to social scientists’ interest in American society and culture. America: A Dutch Historian’s Vision was translated and edited by the late Professor Herbert H. Rowen (1916-1999). Rowen was professor of History at Rutgers University and for much of the 20th century one of America’s most prominent historians on early modern Europe and the Dutch Republic, as well as author of The Princes of Orange (1988, Cambridge Univ Press) and John de Witt (1986, Princeton Univ Press) and editor of The Low Countries in Early Modern Times (1972, Walker and Company). The latter is a selection of key segments from some 50 authentic documents tracing the Dutch Revolt, the creation of the Dutch Republic, the emergence of the trading companies and the House of Orange, etc, all translated (from Dutch, French or Latin) into English.

Annette Stott, Holland Mania—The Unknown Dutch Period in American Art and Culture, (Overlook Press, 1998).

From the cover: “For 40 years between 1880 and 1920, [this] remarkable period in American cultural history took place. In 1903, an editorial in Ladies’ Home Journal announced to millions of American readers that Holland, not England, was the motherland of the United States…It came at the height of a craze for Holland that affected Americans from every geographic region of the United States.” A detailed study of the cultural relationships between the United States and the Netherlands based on art, art history, historiography, and immigrant studies.

Annette Stott et al, Dutch Utopia: American Artists in Holland, 1880-1914, (Telfair Books, distributed by University of Georgia Press, 2009).

This book served as the catalogue of the Dutch Utopia exhibition at the Telfair Museum of Art in Savannah, Georgia (Oct 1, 2009-Jan 10, 2010) which continued at the Taft Museum of Art, Cincinnatti, Ohio (Feb 5-May 2, 2010), Grand Rapids Art Museum, Michigan (May 21-Aug 15, 2010) and Singer Museum, Laren, the Netherlands (Sept 16-Jan 15, 2011). Dutch Utopia was the first major exhibition to explore the little-known but fascinating phenomenon of American artists settling or working in Holland around the turn of the twentieth century and considers the cultural significance of their artistic production. These artists created visions of Dutch society that celebrated a pre-industrial lifestyle and, in some cases, alluded to America’s own colonial Dutch heritage. The catalogue includes seventy-three works by artists who remain celebrated today, such as Robert Henri, William Merritt Chase, John Henry Twachtman and John Singer Sargent, along with painters admired in their own time but less well-known nowadays, including George Hitchcock, Gari Melchers, George Boughton, Elizabeth Nourse, Anna Stanley and Walter MacEwen. Annette Stott (author of Holland Mania, see above) wrote the introduction; five other art historians contributed scholarly essays. The book is a real treat, with first-rate reproductions and is certainly of interest to those who have an affinity for the The Hague School (Anton Mauve, Mesdag et al). Annette Stott’s Holland Mania is a very suitable companion to Dutch Utopia as it provides a broad overview of all Dutch cultural influences in the United States some hundred years ago. The NAF joined other foundations, institutions and individuals in supporting the Dutch Utopia exhibition through a grant.

John Michael Montias, Vermeer and His Milieu—A Web of Social History, (Princeton University Press, 1989).

A biography of one of the great Dutch painter set in the broader context of the hustle and bustle of 17th century Delft.

Lisa Jardine, Going Dutch- How England Plundered Holland’s Glory, (Harper & Collins, 2008).

From the flap: “On November 5, 1688, William of Orange, Protestant ruler of the Dutch Republic, landed at Torbay in Devon with a force of twenty thousand men. The Glorious Revolution that followed forced James II to abdicate, and William and his wife, Mary, were jointly crowned king and queen….Jardine assembles new research… to show how Dutch tolerance, resourcefulness and commercial acumen had effectively conquered Britain long before…Going Dutch is the remarkable story of the relationship between two of Europe’s most important colonial powers at the dawn of the modern age…Holland and England were engaged in an energetic commercial and cultural exchange that survived three Anglo-Dutch wars…Dutch influence also permanently reshaped England cultural landscape….Going Dutch demonstrates how individuals such as Christopher Wren, Isaac Newton and successive generations of the remarkable Huygens family… developed their ideas within a context of the easy Anglo-Dutch relations that laid the groundwork for the European Enlightenment and the Scientific Revolution…..Jardine tests the traditional view that the rise of England as a world power took place at the expense of the Dutch…”. Some reviewers have called Jardine’s book “revisionist history”; William’s invasion may have been motivated to thwart possible plans of France’s Louis XIV against England or Holland. In any case, William and Mary’s Glorious Revolution did introduce religious liberty, democratic institutions and the Bill of Rights in England which in turn inspired the Americans in 1776. (Note that, after New Netherland had fallen under British rule after the end of the Second Anglo-Dutch war in 1664, William’s arrival in London did not change the status of what had then become New York).

Peter G. Rose, Food, Drink and Celebrations of the Hudson Valley Dutch, (The History Press, 2009).

Dutch influences can still be seen along the Hudson River in architecture and customs, but who would have thought that Dutch food and drink persisted for more than 400 years? From beer to bread and cookies and coleslaw, Rose’s book is a comprehensive look at food and drink in colonial America, complete with plenty of recipes! How about Artichoke Salad with Radishes for your next dinner party? Here’s the recipe: 1 artichoke per person (if very large, use half), bacon, beef broth, radishes, cress. Dressing: oil, wine vinegar, salt, pepper, dash of sugar and minced green herbs. Then wrap each artichoke in bacon slices and cook in the beef broth until done (the bottom can be pierced with a fork). Cool in the broth. When cool, remove the leaves, discard the fuzzy choke and thin leaves and cut the bottom into eight parts. Arrange them on a plate and surround them with some of the leaves (cut off sharp tips). Decorate with the washed radishes either whole or cut in half, and place one radish in the middle, perhaps on a little bed of cress if available. Combine the dressing ingredients; sprinkle the salad lightly with the dressing and serve. Heerlijk!

Roderic H. Blackburn, Dutch Colonial Homes in America, (Rizzoli, 2002).

With an introduction by Harrison Frederick Meeske and beautiful photography by Geoffrey Gross and Susan Piatt, this book about Dutch Colonial architecture was made possible partially through a grant from the NAF. Most of the houses shown are open to the public and have considerable collections of artifacts, furniture and household items of the appropriate period.

Roderic H. Blackburn and Ruth Piwonka, Remembrance of Patria: Dutch Arts and Culture in Colonial America, 1609-1776, (The Publishing Center for Cultural Resources for The Albany Institute of History and Art, 1988).

Written and compiled by two authorities on Dutch Colonial art and history, the book is the outcome of an exhibit at the Albany Institute and shows architecture as well as furniture and household goods of the period that have survived.

David Steven Cohen, The Dutch-American Farm, (NYU Press, 1992).

While New Amsterdam and the Dutch governance of the Hudson Valley ceased in the 17th century, many of the traditions and customs in both building and farming survived well into the 19th Century and can be traced today.

John Fitchen, The New World Dutch Barn: A Study of Its Characteristics, Its Structural System, and Its Probable Erection Procedure, (Syracuse Univ. Press, 1968) (Second edition expanded 2001 with material by Gregory D. Huber).

One of the first publications about a distinctive New York State barn type with framing and plan characteristics that are reminiscent of the ‘los hoes’ in Drenthe.

John R. Stevens, Dutch Vernacular Architecture in North America 1640-1830, (Society for the Preservation of Hudson valley Vernacular Architecture, 2005).

Kevin L. Stayton, Dutch by Design: Tradition and Change in Two Historic Brooklyn Houses, The Schenck House and the Brooklyn Museum, (St Martin’s Press, 1990).

Harrison Meeske, The Hudson Valley Dutch and their Houses, (Purple Mountain Press, 1999; revised edition, 2001).

A more contemporary update on the earlier pre-World War II surveys of houses in the Hudson Valley, with some discussion about their typology.

Helen Wilkinson Reynolds, Dutch Houses in the Hudson Valley Before 1776, Payson & Clark, originally published in 1929, reprinted by Dover Publications in 1966, with foreword by Franklin Delano Roosevelt.

Rosalie Fellows Bailey, Pre-Revolutionary Dutch Houses and Families in Northern Jersey and Southern New York, (William Morrow, 1936).

Both the Reynolds and the Bailey books were compiled on behalf of the Holland Society and were the first attempts at a detailed survey of Dutch Colonial heritage. They remain the most comprehensive resource today. Houses and farms identified in these surveys have since been lost.

Deborah L. Krohn, Dutch New York, between East and West: The World of Margrieta van Varick, (Yale University Press, 2009)

From the Publisher: “Commemorating the 400th anniversary of Henry Hudson’s voyage and the lasting legacy of Dutch culture in New York, this book explores the life and times of a fascinating woman, her family, and her things. Margrieta was born in the Netherlands but lived at the extremes of the Dutch colonial world, in Malacca on the Malay peninsula and in Flatbush, Brooklyn. When she came to New York in 1686 with her husband and set up a shop, she brought an astonishing array of Eastern goods. This is a groundbreaking contribution to the histories of New York, the Dutch overseas empire, and material culture”.

Vernon Benjamin, The History of the Hudson River Valley: From Wilderness to the Civil War, (The Overlook Press, 2014)

From the publisher: “Sailing down the river that would bear his captain’s name, explorer Robert Juet described the Hudson River in 1609 as a ‘drowned land’ submerged by a ‘great lake of water’. Over the next two centuries, this drowned landscape would be the site of a truly historic flowering of art, literature, architecture , innovation and revolutionary fervor—drawing comparisons to another fertile cultural haven built around a mighty river in Western Europe. ….the Hudson River Valley has been a place of contradictions since its first settlement by Europeans. Discovered by an Englishman who claimed it for the Dutch, the region soon became home to the most vibrant trading outpost for the New World colonies—the island of Manhattan—even as the rest of the valley retained the native beauty that would inspire artists from James Fenimore Cooper to Thomas Cole. Because of its unique geography and proximity to Canada, the Hudson Valley became the major theater for the battle between empires in the French and Indian War. When the colonists united in rebellion against the British several decades later, conflict came to the region once again, with decisive military engagements from Saratoga to West Point to the occupied New York Harbor. In the aftermath, New York emerged as the capital of a new nation and wealth from the city flowed north to the burgeoning valley, leading to a renaissance of culture and commerce that is still evident today”.

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