Überarb. Diss. Vrije Universiteit Brussel, 2007. / Originaltitel: Patterns of migration and adaptation in the urban transition: newcomers to Antwerp, c. 1760-1860.

<p>This dissertation focuses on the large-scale distribution of imagery from the Southern Netherlands across Europe and the Americas, particularly on the large number of paintings exported from Antwerp-Mechelen to Spain and the Americas during the seventeenth century. To analyze this profitable long-distance art trade and the artistic implications of the exchanges that took place through market mechanisms, this research relies on the archival and visual sources left by one of the most successful seventeenth-century Antwerp international art dealers with Spain and the Americas, Guilliam Forchondt (1608-1678). He established a productive painting workshop and a successful commercial firm that concentrated on Spanish Habsburg territories. This dissertation examines his workshop practices, the type of paintings he directed to Spain and the Americas, and the mechanisms he established for artistic and information exchanges between Flemish, Spanish and colonial Spanish contemporaries because Forchondt dealt in the transatlantic trade through a commercial network of merchants and agents in Europe and the New World. This research also investigates local conditions and responses in Spain, Mexico and Peru to the imported Flemish paintings.</p> / Dissertation

Thesis (Ph.D.)--Brown University, 2008. / Vita. Advisor : Jeffrey Muller. Includes bibliographical references (leaves 441-491).

La thèse vise à démontrer que l'imprimeur Abraham Verhoeven n'a pas publié de gazette à partir de 1605, et qu'il n'a donc pas publié le premier journal au monde, ni le premier journal illustré. Par contre, il a publié :à partir de 1605, des planches d'actualité; à partir de 1609, des occasionnels; à partir de<p>1617, des nouvelles imprimées; à partir de 1620, des occasionnels en série, datés avec plus ou moins de précision (signés en continu en 1620, puis numérotés); à partir du 27 juin 1629, un journal irrégulier mais très fréquent, la VVekelijcke Tijdinghe; à par-<p>tir du début 1632 et jusqu'en 1634, un autre journal irrégulier moins fréquent, le Courante uyt.<p> / Doctorat en philosophie et lettres, Orientation information / info:eu-repo/semantics/nonPublished

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

This work is mainly based on the collection of Neogene (Miocene-Pliocene) odontocetes (toothed whales) from the area of Antwerp (northern Belgium, southern margin of the North Sea Basin) preserved at the Institut royal des Sciences naturelles de Belgique (IRSNB). <p> The systematic revision of members of the long-snouted dolphin family Eurhinodelphinidae leads to the description/re-description of five species in the genera Eurhinodelphis (E. cocheteuxi and E. longirostris), Schizodelphis (S. morckhoviensis), and Xiphiacetus n. gen. (X. cristatus and X. bossi). Furthermore, the systematic status of several eurhinodelphinid species from other localities in the world is revised. A cladistic analysis with the parsimony criterion is undertaken to highlight the phylogenetic relationships of several eurhinodelphinid taxa with other fossil and extant odontocetes. Eurhinodelphinids are more closely related to the beaked whales; the latter are distinctly separated from the sperm whales. A second analysis, with a likelihood criterion, reaches nearly identical results. Then a separate parsimony analysis investigates the relationships within the family Eurhinodelphinidae; the results suggest sister-group relationships between Schizodelphis + Xiphiacetus and Ziphiodelphis + (Mycteriacetus + Argyrocetus) and a more stemward position for Eurhinodelphis. After that, anatomical, palaeogeographic, and phylogenetic data allow several suggestions about the ecological features of the eurhinodelphinids. The extinction of this family, before the end of the Miocene, is commented, related to the changes in the biodiversity of other odontocete groups and to a contemporary major sea level drop. <p>\ / Doctorat en sciences, Spécialisation biologie animale / info:eu-repo/semantics/nonPublished

This thesis offers a reassessment of Pieter Bruegel the Elder’s painting Children’s Games (1560, Kunsthistoriches Museum, Vienna). Addressing the lack of historically accurate interpretations of Bruegel’s panel, I use a wide range of sixteenth-century sources to develop fresh insights into how the work might have been understood by its original audience. The Introduction opens with a description of the painting’s iconography, provenance, current condition and conservation history. A review of previous literature relating to the panel sets Children’s Games within the trajectory of scholarship on Bruegel and other related works in his oeuvre and serves to highlight areas of scholarly difficulty and disagreement as well as current methodological trends. Considering the reception, rather than the inception, of Children’s Games, the third part of the Introduction outlines broader cultural developments which shaped habits of looking in the sixteenth century, including encyclopaedic texts, atlases, Wunderkammern and memory systems. Surmising that Bruegel’s viewers would have been adept at searching for arguments within abundant collections of material, I then introduce a number of sixteenth-century sources which detail contemporary attitudes towards game-playing. The Introduction ends with an outline of the structure and methodological approach of the thesis. Chapter 1, 'Artistic Precedents: Illuminated Manuscripts', considers the panel in relation to the iconography of popular games found in the borders of illuminated manuscripts produced in France and the Netherlands in the late fifteenth and early sixteenth century. After highlighting areas of shared iconography, I discuss how Children’s Games differs from illuminated manuscripts, concluding that Bruegel rejected the 'game of the month' tradition found in the calendar borders and instead amalgamated a variety of children’s games and festive customs to create a humanistic encyclopaedia of children’s culture. A second sixteenth-century source which details popular games is François Rabelais’s book Gargantua (1532). Chapter 2 presents my research into why Rabelais’s writing is relevant to Bruegel scholarship, including archival evidence that Rabelais’s books were available in Antwerp and an analysis of the Songes drolatiques de Pantagruel (1565), a collection of woodcuts which combined Rabelais’s name with Bruegelian imagery. I then compare Children's Games with the list of 217 popular games played by Gargantua and discuss how these fictional lists related to the factual compilations of the period. Gargantua’s game-list occurs in the context of his humanist education, a context which is also relevant to Bruegel’s panel. During the sixteenth century a wealth of material on children’s play and deportment emerged in the form of humanist school colloquies and treatises. A number of these were closely related to the education system in Antwerp and were penned by members of Bruegel’s circle of associates. These have never been brought to bear on Children’s Games, and are used in chapter 3 to develop a new, historically-accurate reading of the painting. The pedagogical texts suggest that during the sixteenth century children’s play was viewed positively and was closely bound to education, and so challenge the canonical view arising chiefly from c.17th emblem books and paintings that Children’s Games makes moral points about adult behaviour. Appendix 1 - Enumerates Bruegel’s games and records comparable depictions found in manuscripts, printed images and paintings from the fifteenth, sixteenth and seventeenth centuries. Appendix 2 - Presents versions of Gargantua’s game-list from original editions of Rabelais’s text alongside standard translations and modern critical editions.

<p>During the 1550s, a warehouse was constructed in Antwerp with funds from both the city government and a private investor. This building, the Tapissierspand, became the global center for selling and distributing tapestries of extraordinary beauty, exquisite craftsmanship, and exorbitant cost. The construction of the building indicates that the very nature of how tapestries were made and purchased was changing in the 1550s. Although Antwerp's fairs had long been convenient locations for agents to find luxury items that might please their wealthy clients, like with many luxury trades, tapestry sales were shifting from strictly commissioned sales to include on spec sales. The Tapissierspand was the ideal place for a dealer to purchase multiple already-made tapestries and load them onto the waiting ships in Antwerp's busy harbor for export and resale abroad. The city's export registers document that thousands of yards of tapestry were shipped this way. </p><p>The regulatory environment in Antwerp was much less strict than in other cities and this permitted freer interactions within guilds and across industries. The city was for this reason a desirable location for craftsmen to work and sell. But because the strict royal ordinances delivered throughout the 1530s and 1540s were frequently uninforced, workers in the industry were forced to find other ways to manage the large risk inherent in the tapestry trade. The development of the Tapissierspand in Antwerp was an effort on the part of merchants and the city to abate risk. The city could continue to entice merchants if it could provide the right opportunities and environment. However, by the sixteenth century, the constant hyper-vigilance the city had experienced throughout the fifteenth century during frequent times of war and financial difficulty shaped the way the city and its occupants viewed business. In a large sense, everything came down to risk, and how to manage it and minimize it. </p><p>At a time of upheaval and mismanagement, survival and financial success through the reduction of risk became of primary importance. Tapestry weaving carried inherent--and large--risks. Raw materials were expensive, and workshops often did not have the capital needed for on spec weaving. The purchase of on spec tapestries without any guarantees of quality or origin was risky for buyers. Thus the Tapissierspand's story is one of people seeking to maximize economic advantage and minimize risk. The Tapissierspand allowed buyers and sellers to minimize risk by facilitating exchange of knowledge, assessment of quality, negotiation of prices and commissions, and extension of credit. </p><p>This dissertation will examine the historical precedents in Antwerp that allowed the Tapissierspand to develop, and the ways in which the Pand functioned to expand trade while reducing risk for both buyers and sellers by reducing the risks inherent in the industry.</p> / Dissertation

<p>Marinus Van Reymerswaele's painting of 1542, <italic>The Lawyer's Office</italic>, was a completely new type of image in the history of art. It shows a lawyer and his assistant behind a desk strewn with briefs, wax seals and money. A complex set of historical circumstances at the interface of art, economics, and legal history in sixteenth century Antwerp explain this painting's appearance and significance. In the beginning of the sixteenth century, Antwerp became a locus of unprecedented artistic production caused by the dramatic growth of its mercantile population, its highly organized commercial infrastructure, and its competitive business atmosphere. These developments stimulated a new sophistication in the art market and an energetic approach to acquiring and collecting, supported by publicly-funded venues to mass-market paintings. Over the course of the sixteenth century, artists invented new subjects to meet public demand. Many of these were radically new. One of these artists, Marinus Van Reymerswaele (c. 1490-1546) made distinctive paintings of lawyers, bankers, and moneychangers which relate to fundamental changes in the legal and commercial infrastructure in the sixteenth century. In just one generation, the Habsburg authority centralized the political and legal landscape in the Netherlands. As the prized economic and cultural center of Habsburg territories, Antwerp was transformed. </p><p>This dissertation links the development of consumption practices and the rise of new pictorial subjects introduced in Antwerp with the changing business and legal climate of the city during the sixteenth century. Through an investigation of unpublished home inventories recorded between 1528 and 1588, it clarifies the acquisition preferences of the Antwerp public at large, considering both changing preferences for panel and linen paintings as well as for novel and traditional images alike. This reassessment of painting consumption reveals a starkly more conservative approach to buying images than previously assumed, underscoring the rarity of everyday life subjects in Antwerp domestic spaces. As a painter operating within this market, Marinus van Reymerswaele invented a new brand of painting -- the new old master painting -- that not only addressed broad social concerns sparked by Habsburg political, mercantile, and legal reforms, but also built on long-established Netherlandish visual traditions. As the sixteenth century drew to a close, his paintings became more desired by collectors but lost their topicality as memories of Antwerp's political anxieties faded into the past.</p> / Dissertation

Cette thèse examine les mutations des organisations policières et leurs implications sur les pratiques des acteurs du maintien de l’ordre dans les villes de l’espace belge de la fin de l'Ancien Régime à la fin du Premier Empire. Elle interroge plus largement les rapports entre la modernisation administrative et la construction de l’État et se penche sur l’articulation des éléments hérités des structures préexistantes avec ceux apportés au moment des conquêtes révolutionnaires. L’approche proposée est celle d’une histoire de la police napoléonienne « par le bas » et ancrée dans les traces de ses prédécesseurs d’Ancien Régime. Riche en découvertes, elle fait ressortir les mutations à la fois lentes et profondes des organisations policières des villes.L’analyse se concentre tout d’abord sur les mutations des systèmes policiers urbains dans la dernière décennie de l'Ancien Régime, au moment où les Pays-Bas autrichiens et la principauté de Liège sont marqués par des politiques réformatrices et par de fortes tensions révolutionnaires. Ensuite, les transformations des structures et des pratiques survenues à l’occasion des occupations des territoires belges de 1792 à 1795 et des troubles de l’époque du Directoire sont abordées. Cette partie permet de mettre en lumière les polices urbaines sous le Directoire restées, jusqu'à présent, largement méconnues. La thèse se concentre ensuite sur le Consulat, principalement sur la bureaucratisation de l'administration de la police. Les deux chapitres suivants montrent les continuités et les changements dans les pratiques de maintien de l'ordre au cours de la période 1780-1814. Enfin, le dernier chapitre tente d'évaluer comment la police de l'État et les polices urbaines s’articulent, dans la collaboration ou la concurrence, pendant les dernières années de l'Empire napoléonien.Au-delà du passage d’une police de type englobant à une police considérée comme plus moderne car davantage orientée vers la sécurité des personnes, ce parcours chronologique met en lumière les transformations à la fois endogènes et exogènes survenues dans les appareils policiers des villes, bien avant l’annexion des territoires belges à la République française et l’avènement du régime bonapartiste. Les continuités importantes mais aussi le dynamisme et l’autonomie des polices urbaines face à la centralisation de l'État nuancent et rendent plus complexe l’analyse de la construction politique napoléonienne. Cette thèse donne également la mesure des similitudes entre les épisodes de troubles (1787-1795, 1809, 1813-1814) dans les pratiques de surveillance ou le recours à l’armée.Au terme de l’expérience napoléonienne, les polices municipales léguées par le Premier Empire apparaissent davantage comme le résultat d’un syncrétisme entre des éléments proprement locaux et originaux et d’autres importés et digérés par les villes de l’espace belge. La personnalité forte de certains individus appelés à remplir des fonctions de police, y compris sur le terrain, peut avoir une influence importante dans la mise en place, la diffusion et l’appropriation de nouvelles pratiques. Dès lors, la modernité policière – qui n’est pas nécessairement synonyme de centralisation – émerge, selon les lieux, en des temps et sur des objets différents. Elle se donne à voir surtout à travers cette synthèse qui s’opère entre des éléments locaux, héritage éventuel des structures d’Ancien Régime, et des éléments importés à l’occasion des conquêtes révolutionnaire et napoléonienne. / This thesis examines the changes in police organizations and their implications for the practices of actors maintaining public order in cities of Belgian territories from the end of the Ancien Régime to the end of the first Empire. More broadly it questions the relationships between administrative modernization and construction of the State, and concentrates on the interrelationships between elements inherited from pre-existent structures with those introduced at the moment of revolutionary conquests. The approach suggested is that of a history of the Napoleonic police “from the bottom up”, one anchored in traces of its predecessors from the Ancien Régime. Rich in discoveries, it lays emphasis on what are slow but profound changes in city police organizations.The analysis, first of all, concentrates on changes in urban police systems in the last decade of the Ancien Régime, at the moment when the Austrian Netherlands and the principality of Liège were marked by reform policies and strong revolutionary tensions. Subsequently, transformations in structures and practices occurring during the occupations of Belgian territories from 1792 to 1795 and the disorders of the Directory period are approached. That section allows us to shed light on the urban police forces under the Directory, something that has been so far largely ignored. The thesis then concentrates on the Consulate, principally on its bureaucratization of police administration. The following two chapters show continuities and changes in practices in the maintenance of public order during the 1780-1814 period. Finally, the last chapter seeks to evaluate how the State police force and the urban police forces got along, in collaboration or competition, during the last years of the Napoleonic Empire.Beyond transiting from a comprehensive type of police force to a police force considered more modern in being more oriented towards the security of people, this chronological itinerary sheds light on both the endogenous and exogenic transformations occurring in the city police apparatuses, well before the annexation of Belgian territories to the French Republic and the advent of the Bonapartist regime. Important continuities, as well as the dynamism and autonomy of the urban police regarding State centralization simultaneously nuance and make analysis of Napoleonic political construction more complex. This thesis also assesses the similarities between the episodes of disorders (1787-1795, 1809, 1813-1814) in surveillance practices and recourse to the army.At the end of the Napoleonic experiment, the municipal police forces bequeathed by the First Empire appear to be more the result of a syncretism between strictly local and original elements and others imported and digested by cities in Belgian space. The strong personality of certain individuals called upon to exercise policing functions, including in the field, may have had an important influence on the installation, the dissemination and the adoption of new practices. Consequently, police modernity – which is not necessarily synonymous with centralization – emerged, depending on the places, times and various objects. This can be seen above all through the synthesis which took place between local elements, the possible inheritance of structures from the Ancien Régime, and elements imported on the occasion of revolutionary and Napoleonic conquests.