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The first published defense of women by a Netherlandish author.

Jehan Baptista Houwaert’s Excellence and Nobility of Women constitutes the eighth book of his Plain of the Nine Muses, or The Pleasure Garden of Virtuous Women (1582–1583), an immense conduct book for women in rhymed verse based on the many querelle texts of the French and Burgundian tradition but especially, in its French translation, on the pathbreaking Declamation on the Nobility and Preeminence of the Female Sex (1529) by Henricus Cornelius Agrippa von Nettesheim. 

Like its model, Houwaert’s work asserts not merely the equality but the superiority of women. It is unique in that it is addressed not to a wealthy noblewoman or princess, as were most such defenses, but more democratically to the “girls, unmarried women, wives, and widows of Belgica”—all of them!
 

Sex, Drugs and Rock 'n' Roll in Rembrandt’s Time focuses on the generation of rich young men that grew up in the seventeenth century in the Dutch Republic. These men had more money to spend on clothes, music, and recreation than the generation before them. This fascinating account of male adolescence in the Dutch Republic reveals how young men including Rembrandt van Rijn disregarded conservative values and rebelled against the older generation, and consequently created a new youth culture that was similar to the one of the 1960s. They had long hair, wore colorful and extravagant clothing, and started taking drugs. Theirs was the first generation in European history to smoke tobacco. Moreover, they defied conventional norms and values with their promiscuity and by singing lewd songs in their free time.

With his engaging storytelling-style filled with humorous anecdotes, Roberts convincingly shows how deviant male youth behavior is a feature of all ages, especially in periods when youngsters have too much free time and money.

In Slavery and the Invention of Dutch Art, Caroline Fowler examines the fundamental role of the transatlantic slave trade in the production and evolution of seventeenth-century Dutch art. Whereas the sixteenth-century image debates in Europe engaged with crises around the representation of divinity, Fowler argues that the rise of the transatlantic slave trade created a visual field of uncertainty around picturing the transformation of life into property. Fowler demonstrates how the emergence of landscape, maritime, and botanical painting were deeply intertwined with slavery’s economic expansion. Moreover, she considers how the development of one of the first art markets was inextricable from the trade in human lives as chattel property. Reading seventeenth-century legal theory, natural history, inventories, and political pamphlets alongside contemporary poetry, theory, and philosophy from Black feminism and the African diaspora, Fowler demonstrates that ideas about property, personhood, and citizenship were central to the oeuvres of artists such as Rembrandt van Rijn, Hercules Segers, Frans Post, Johannes Vermeer, and Maria Sibylla Merian and therefore inescapably within slavery’s grasp.