Indonesia is home to diverse peoples who differ from one another in terms of physical appearance as well as social and cultural practices. The way such matters are understood is partly rooted in ideas developed by racial scientists working in the Netherlands Indies beginning in the late nineteenth century, who tried to develop systematic ways to define and identify distinctive races. Their work helped spread the idea that race had a scientific basis in anthropometry and craniology, and was central to people’s identity, but their encounters in the archipelago also challenged their ideas about race.

In this new monograph, Fenneke Sysling draws on published works and private papers to describe the way Dutch racial scientists tried to make sense of the human diversity in the Indonesian archipelago. The making of racial knowledge, it contends, cannot be explained solely in terms of internal European intellectual developments. It was ‘on the ground’ that ideas about race were made and unmade with a set of knowledge strategies that did not always combine well. Sysling describes how skulls were assembled through the colonial infrastructure, how measuring sessions were resisted, what role photography and plaster casting played in racial science and shows how these aspects of science in practice were entangled with the Dutch colonial Empire.

This data guide exhaustively documents the results of a 2005 survey of religious and secular attitudes and behavior in the Netherlands. The data files and additional documentation can be downloaded from EASY, the online archiving system of the Institute of the Royal Netherlands Academy of Arts and Sciences Data Archiving and Networked Services (DANS).  DANS promotes sustained access to digital research results and encourages scientific researchers to systematically archive and reuse data.

There is a popular and romantic myth about Rembrandt and the Jewish people. One of history's greatest artists, we are often told, had a special affinity for Judaism. With so many of Rembrandt's works devoted to stories of the Hebrew Bible, and with his apparent penchant for Jewish themes and the sympathetic portrayal of Jewish faces, it is no wonder that the myth has endured for centuries.

Rembrandt's Jews puts this myth to the test as it examines both the legend and the reality of Rembrandt's relationship to Jews and Judaism. In his elegantly written and engrossing tour of Jewish Amsterdam—which begins in 1653 as workers are repairing Rembrandt's Portuguese-Jewish neighbor's house and completely disrupting the artist's life and livelihood—Steven Nadler tells us the stories of the artist's portraits of Jewish sitters, of his mundane and often contentious dealings with his neighbors in the Jewish quarter of Amsterdam, and of the tolerant setting that city provided for Sephardic and Ashkenazic Jews fleeing persecution in other parts of Europe. As Nadler shows, Rembrandt was only one of a number of prominent seventeenth-century Dutch painters and draftsmen who found inspiration in Jewish subjects. Looking at other artists, such as the landscape painter Jacob van Ruisdael and Emmanuel de Witte, a celebrated painter of architectural interiors, Nadler is able to build a deep and complex account of the remarkable relationship between Dutch and Jewish cultures in the period, evidenced in the dispassionate, even ordinary ways in which Jews and their religion are represented—far from the demonization and grotesque caricatures, the iconography of the outsider, so often found in depictions of Jews during the Middle Ages and the Renaissance.

Through his close look at paintings, etchings, and drawings; in his discussion of intellectual and social life during the Dutch Golden Age; and even through his own travels in pursuit of his subject, Nadler takes the reader through Jewish Amsterdam then and now—a trip that, under ever-threatening Dutch skies, is full of colorful and eccentric personalities, fiery debates, and magnificent art.

In 1568, the Seventeen Provinces in the Netherlands rebelled against the absolutist rule of the king of Spain. A confederation of duchies, counties, and lordships, the Provinces demanded the right of self-determination, the freedom of conscience and religion, and the right to be represented in government. Their long struggle for liberty and the subsequent rise of the Dutch Republic was a decisive episode in world history and an important step on the path to the Universal Declaration of Human Rights. And yet, it is a period in history we rarely discuss.

In his compelling retelling of the conflict, Anton van der Lem explores the main issues at stake on both sides of the struggle and why it took eighty years to achieve peace. He recounts in vivid detail the roles of the key protagonists, the decisive battles, and the war’s major turning points, from the Spanish governor’s Council of Blood to the Twelve Years Truce, while all the time unraveling the shifting political, religious, and military alliances that would entangle the foreign powers of France, Italy, and England. Featuring striking, rarely seen illustrations, this is a timely and balanced account of one of the most historically important conflicts of the early modern period.

Perspective determines how we, as viewers, perceive painting. We can convince ourselves that a painting of a bowl of fruit or a man in a room appears to be real by the way these objects are rendered. Likewise, the trick of perspective can prevent us from being absorbed in a scene. Connecting contemporary critical theory with close readings of seventeenth-century Dutch visual culture, The Rhetoric of Perspective puts forth the claim that painting is a form of thinking and that perspective functions as the language of the image.

Aided by a stunning full-color gallery, Hanneke Grootenboer proposes a new theory of perspective based on the phenomenological aspects of non-narrative still-life, trompe l'oeil, and anamorphic imagery. Drawing on playful and mesmerizing baroque images, Grootenboer characterizes what she calls their "sophisticated deceit," asserting that painting is more about visual representation than about its supposed objects.

Offering an original theory of perspective's impact on pictorial representation, the act of looking, and the understanding of truth in painting, Grootenboer shows how these paintings both question the status of representation and explore the limits and credibility of perception.

Geertje Boschma's complex study examines issues from the rise of scientific psychiatry and the emergence of mental health nursing to the social relationships of class, gender, and religion that structured asylum care in the Netherlands around 1900. Drawing on the archival collections of four Dutch asylums, Boschma highlights the gendered nature of mental health nursing politics, and captures the contradictory realities of hospital-oriented asylum care, both illustrating the social complexity of the care of the mentally ill and offering an important addition to the history of European psychiatry.