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[caption id="attachment_2691" align="aligncenter" width="500"] Pieter Gerritsz van Roestraeten, Nature morte avec tasses chinoises, huile sur toile, v. 1670-1680, Berlin, Gemäldegalerie.[/caption]Type : colloque.Date et horaire : 25-27 octobre 2018 .Lieu :  Utrecht.The art of the Early Modern Netherlands was a global art in various dimensions. Paintings and prints were made for worldwide export; artists depicted foreign rarities; applied arts from Asia were imported on an industrial scale. Famous masters stood out for their interest in remote traditions, from Vermeer’s Chinese porcelain to Rembrandt’s Mughal miniatures and Rubens’s engagement with the worldwide Jesuit mission. This conference identifies and addresses some of the challenges and opportunities that Global Art History offers for the Low Countries.Participants explore how artworks were more than illustrations of the interconnectedness of the Early Modern world, with Antwerp and Amsterdam as hubs of global exchange. Everyday lives changed as foreign luxuries became a household presence. Images of real and imagined foreigners circulated on an unprecedented scale. Travelers and scholars pondered unknown iconographies, which sometimes threatened to unsettle the Eurocentric perspective. To explore this global complexity, the conference discusses painting, print, and the applied arts; materials, techniques, and styles; meaning, interpretation, and consumption; and migration, markets, and collections.An additional question is how the display and analysis of Dutch and Flemish art has developed into a worldwide phenomenon. The works’ visual language appeals to publics from Japan to Brazil. At the same time the material heritage that documents the entangled histories of the Netherlands and Asia, Africa, the Americas, and Australia is increasingly being foregrounded. What is the continuing relevance of Netherlandish art in a globalized world?Seating is limited. If you want to participate please contact m.a.weststeijn@uu.nlProgrammeDay 1: Thursday, October 2513:00-13:30 Welcome13:30-15:00 Session INetherlandish Art and the World: Opening RemarksThijs Weststeijn (Utrecht University)Rembrandt in Japan/Rembrandt on JapanAkira Kofuku (National Museum of Western Art, Tokyo)Remapping Dutch Art in Global Perspective: Three Meditations on MethodologyJulie Hochstrasser (University of Iowa)15:00-15:30 Tea break15:30-17:00 Session IIThe Slavery Exhibition in the Rijksmuseum, 2020Eveline Sint Nicolaas (Rijksmuseum Amsterdam)Gilt Leather between East and WestEloy Koldeweij (Utrecht University)Icons, Iconoclasm, Iconic Circuits: Netherlandish Sacred Art in the WorldBenjamin Schmidt (University of Washington, Seattle)17:00-17:30 Roundtable discussion chaired by Thomas DaCosta Kaufmann (Princeton University)Day 2: Friday, October 269:00-10:30 Session III‘Chinese historie ofte verthooning der keysers.’ Artistic Collaboration between the Dutch and Chinese in BataviaTrude Dijkstra (University of Amsterdam)‘A Most Delightful Prospect upon the Water’: Canal Landscapes in Nieuhof’s Embassy and 17th-Century Dutch PaintingsYue Zhuang (University of Exeter)Images of Europeans at the Qing Court during Qianlong’s Reign: A Study of Qing Imperial Illustrations of TributariesSun Jing (Tsinghua University, Beijing)10:30-11:00 Coffee break11:00-12:30 Session IVThe Strange and Mysterious Case of Asian PaintingElmer Kolfin (University of Amsterdam)Images of Porcelain Collecting in Dutch Genre Painting: The Case of Willem van MierisJunko Aono (Kyushu University, Fukuoka)Representations of Dutch vessels in Dutch and Japanese Paintings of the 17th and 18th CenturiesMichiko Fukaya (Kyoto City University of Arts)12:30-13:30 Lunch break13:30-15:00 Session VDutch Imitations of urushi Varnish in the 17th and 18th CenturiesMarjolijn Bol (Utrecht University)Meaning in Material in 17th-Century Netherlandish Applied Arts Objects with Depictions of AfricansCharlotte Hoitsma (Utrecht University)The Art of Describing BlacknessClaudia Swan (Northwestern University, Evanston)15:00-15:30 Tea break15:30-16:30 Session VIFlemish Prints in Mughal AlbumsEbba Koch (University of Vienna)Did Rembrandt Copy those Mughal Miniatures for Himself – or for Someone Else?Gary Schwartz (Independent Scholar, Maarssen)Day 3: Saturday, October 2710:00-12:00 Session VIIMount Potosí in Antwerp: Mythological, Metallurgical, and Monetary Imagery in Rubens’s Arch of the Mint for the Entry of Cardinal-Infante Ferdinand (1635)Christine Göttler (University of Bern)Images of Brazil and the Tupinambás in Anti-Catholic Netherlandish Art during the Early Modern PeriodMaria Berbara (Rio de Janeiro State University)Mechelen, Mexico, Manila: Makers, Markets and the Making of the ‘Global’Stephanie Porras (Tulane University, New Orleans)From Ghent to Tenochtitlán and Back Again: The Circulation of Artworks from Pedro de Gante’s Workshop in the Sixteenth CenturySarah Moran (Utrecht University)12:00-13:00 Lunch break13:00-14:00 Session VIIThe ‘Chinoiserie’ Prints of Pieter Schenk I and II as Sources for Dutch Interiors in Chinese Style, c. 1710-1740Gert-Jan Janse (Utrecht University)China and Europe, Original and Copy, Narrative and Fiction: Chinoiserie Prints at the Saxon CourtCordula Bischoff (Technische Universität Dresden)14:00-15:00 Roundtable discussion chaired by Julie Hochstrasser (University of Iowa)