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Date: Thursday 20 February 2020Time: 16:00 - 18:00 &#160;hrsLocation: University LibraryWitte Singel 26-272311 BG Leiden Room VossiuszaalFour young French Fellows at the Department Art History present their research regarding the Dutch seventeenth century1. Whore, saint or example:&#160;Portraits of Mary Magdalene in the Dutch seventeenth-centuryCarole Fonticelli, Université Paris 1 Panthéon-SorbonneDespite the Calvinist’s rejection of the intercessory role of the saints, the&#160;practice completely differs from the theory in the daily life of the seventeenth-century Republic. Indeed, even the dubious saint Mary Magdalene was widely depicted by Dutch artists, even Calvinists.&#160;In my talk I will give an overview of how she looked like in a rich diversity of paintings. These representations often regard her as role model –and no longer as an intercessors. Thus we can see how the depiction of the saint surprisingly well fits with Calvinist ideals.2.&#160;A multifaceted Jerusalem&#160;Protestant, Catholic and Jewish perspectives in Romeyn de Hooghe’s views of the TempleEsther Guillaume, Université Paris 1 Panthéon-SorbonneDuring the second half of the seventeenth century, the Dutch Republic witnessed a growing interest for the structure and lost appearance of Solomon’s Temple. This interest, nourished by theologians, artists, as well as curious individuals partially stemmed from the belief in the Republic as the New Israel. This talk will deal with the question how exactly the image of the Jerusalem Temple was appropriated and integrated into the visual culture of a religiously multifaceted Dutch audience. Therefore, I will focus on three distinct cases of Temple representations by Romeyn de Hooghe : The&#160;Spiegel om wel te sterven&#160;(David de la Vigne, c. 1673), the&#160;Schouburgh der Nederlandse Veranderingen&#160;(Romeyn de Hooghe, 1674) and the nine prints series on Solomon’s Temple for Hieronymus Nunes da Costa.3.&#160;Emulating, copying, imitating: Roman drawings by the&#160;Bentvueghels&#160;Suzanne Baverez, Ecole Partique des Hautes EtudesIt is well known that during the seventeenth century, the&#160;Schildersbent&#160;was one of the major sources of entertainment for the Netherlandish artistic community in Rome. The welcoming parties thrown for the induction of a new member&#160;Bentvueghel&#160;were as many occasions for regularly gathering the expatriated Netherlandish artists, leading to long-lasting companionships among them. How does it impact their artistic practices? Taking a close look at the drawing production of the&#160;Bentvueghels&#160;– from sketchbooks to preparatory compositions- this talk will discuss the collective artistic pratices that the&#160;Schildersbent&#160;has fostered. Suzanne Baverez will show how, by drawing side by side, but also by exchanging and copying drawings from one another, the Netherlandish artists led major experimentations. She also shows how the drawings reveal a prominent itinerary through Rome. From this itinerary other questions pop up: Is this itinerary done under the lead of compatriots and differs it from the ones performed by Italian or French artists?&#160;Finally, how to qualify the Rome they thus created?&#160;4. Understanding art production in Leiden before and after 1575: the case of stained-glassSarah Moine, PhD-student Leiden UniversityStudies of the various aspects of Leiden history often start or end in 1575, after the deadly Spanish siege and at the date of the foundation of the University. However, the richness of the Leiden archives allow for a comprehensive study of the art production through this period, focussing on the continuity and changes of this paradigm-shifting period that is the end of the 16th&#160;century and the early years of the so-called “Golden Age.” With the example of the production of stained-glass, a craft of which the use goes far beyond the Catholic art production, we will question the evolution of Leiden as an artistic centre during that time, and illustrate in which fields our primary sources can help us shed new light.Willem Thibaut, Stained Glass with William II, earl of Holland and Sealand, 1588, Museum de Lakenhal.