The Dutch East India Company, also known as the VOC, was established in 1602 and played a crucial role in shaping the Dutch Golden Age. This joint-stock corporation allowed Dutch citizens to invest in trade with Asia, leading to a significant influx of capital into the Republic. As Amsterdam’s population grew and the middle class expanded, there was a rising demand for art among the newly affluent burghers.
However, the religious landscape of the Republic, which officially adhered to Calvinism, posed a challenge for artists. With the rejection of religious imagery in worship, artists had to pivot towards secular genres like landscapes, still lifes, and scenes of everyday life to cater to the new demand for art. This shift led to the production of millions of paintings in the 17th century, marking the Dutch Golden Age in art history.
Despite the prosperity and cultural flourishing of the Dutch Republic during this period, there is a darker side to the story that has often been overlooked. Recent scholarship has shed light on the role of the VOC and the West India Company (WIC) in perpetuating the transatlantic slave trade. While slavery was illegal within the Republic itself, some Dutch citizens still owned enslaved individuals, and the trade in human beings was integral to the economic success of these trading companies.
Caroline Fowler’s groundbreaking book, “Slavery and the Invention of Dutch Art” (2025), delves into the hidden history of slavery in Dutch art. Fowler argues that traces of slavery can be discerned in Dutch artworks, particularly in the transition from religious themes to secular subjects. She explores how the emergence of racial capitalism underpinned the development of Dutch art during this period, highlighting the commodification of human life and its transmutation into property.
Fowler’s analysis of specific artworks and artists uncovers the subtle yet profound impact of slavery on Dutch art. By reinterpreting familiar pieces through the lens of her thesis, she reveals the insidious connection between artistic representation and the economy of enslavement. Through close readings of paintings like Frans Post’s “Landscape in Brazil with Sugar Plantation” and Jan Jansz van de Velde’s “Still Life with a Beer Glass and a Porcelain Dish with Pepper,” Fowler uncovers the hidden narratives of violence and exploitation that lurk beneath the surface of seemingly benign images.
The book challenges traditional interpretations of Dutch art, offering a more complex and nuanced understanding of the cultural production of the Dutch Golden Age. By confronting the uncomfortable truths of the past, Fowler invites readers to reexamine familiar artworks and reconsider the legacy of slavery in shaping Dutch art and society. “Slavery and the Invention of Dutch Art” is a compelling and thought-provoking exploration of a dark chapter in art history that demands our attention and reflection.
