In this episode, we delve into the rich history and legacy of Archduchess Isabella Clara Eugenia. Together with her husband Archduke Albert of Austria, the Archducal couple ruled as co-sovereigns over the Spanish Netherlands from 1599 to 1621. When Archduke Albert died in 1621, the Archduchess suffered a significant demotion of power at the hands of the Spanish king, who did not trust Isabella to rule alone and independently from the Spanish crown. In response to the new limitations imposed on Isabella's political authority, she instrumentalized her patronage of the arts to nourish, foster, and strengthen her political alliances all over Europe. Isabella Clara Eugenia has been remembered for her remarkable military leadership, her genuine longing for peace and stability for the Northern and Southern Netherlands, and above all, for the love she felt for her people. Thank you for listening, I hope you enjoy this episode. 

ARTH 869 FINAL PROJECT PART TWO “A Questionnaire on Decolonizing,” in October 174 (Fall 2020): 3-125. “Art’s Role in Changing How We Think About the World.” Carlton University, Art & Architectural History, November 13, 2019. https://carleton.ca/aah/2019/arts-role-in-changing-how-we-think-about-the-world/. Arvin, Maile, Eve Tuck, and Angie Morrill. “Decolonizing Feminism: Challenging Connections between Settler Colonialism and Heteropatriarchy.” Feminist Formations 25, no. 1 (2013): 8–34. http://www.jstor.org/stable/43860665. Barker, Joanne. “Gender, Sovereignty, Rights: Native Women’s Activism against Social Inequality and Violence in Canada.” American Quarterly 60, no. 2 (2008): 259–66. http://www.jstor.org/stable/40068533. “Chanie Wenjack School for Indigenous Studies.” Trent University. Accessed December 4, 2021. https://www.trentu.ca/indigenous/. “Decolonizing Art History,” in Art History 43, no.1 (Feb.2020): 8-66. Deer, Sarah. “Decolonizing Rape Law: A Native Feminist Synthesis of Safety and Sovereignty.” Wicazo Sa Review 24, no. 2 (2009): 149–67. http://www.jstor.org/stable/40587785. D’Souza, Aruna. “The Fourth World and the Second Wave: On (Non)Encounters Between Native Women and Feminism.” Art for a New Understanding: Native Voices, 1950 to Now, ed. Mindy N. Besaw, Candice Hopkins, and Manuela Well-Off-Man (Fayetteville: The University of Arkansas Press, 2018), 62-73. Ellison, Sheena. “ARTH 2005A: Arts of the First Peoples: The Woodlands, the Plains, and the Subarctic.” Syllabus, Carleton University, Ontario, Fall 2017. Goeman, Mishuana R., and Jennifer Nez Denetdale. “Guest Editors’ Introduction: Native Feminisms: Legacies, Interventions, and Indigenous Sovereignties.” Wicazo Sa Review 24, no. 2 (2009): 9–13. http://www.jstor.org/stable/40587778. Mignolo, D. Walter. “Coloniality Is Far from Over, and So Must Be Decoloniality.” Afterall 43, (2017): 38-45. Mohanty, Chandra Talpade. ““Under Western Eyes” Revisited: Feminist Solidarity through Anti-Capitalist Struggles,” in Signs: Journal of Women in Culture and Society 28, no.2 (2002): 499-535. Reuters. “France returns 26 looted artifacts and artworks to Benin.” CNN, November 12, 2021. https://www.cnn.com/style/article/benin-art-returned-scli-intl/index.html. Rickard, Jolene. “Diversifying Sovereignty and the Reception of Indigenous Art.” Art Journal 76, no.2 (2017): 81–84. http://www.jstor.org/stable/45142474. Sarr, Felwine and Bénédicte Savoy. "The Restitution of African Cultural Heritage: Toward a New Relational Ethics." Paris Government: Ministry of Culture, 2018. “The New Canadian and Indigenous Galleries Open June 15th, 2017.” National Gallery of Canada, June 7, 2017. https://www.gallery.ca/for-professionals/media/press-releases/the-new-canadian-and-indigenous-galleries-open-june-15th-at. Tuck, Eve, Marcia McKenzie, and Kate McCoy. “Land Education: Indigenous, Post-Colonial, and Decolonizing Perspectives on Place and Environmental Education Research.” Environmental Education Research 20, no. 1 (January 2, 2014): 1–23. doi:10.1080/13504622.2013.877708. Yang, Andrew and Eve Tuck. “Decolonizing is not a Metaphor.” Decolonization: Indigeneity, Education & Society 1, no.1 (2012): 1-40.

ARTH 869 FINAL PROJECT PART ONE

Still levens werden voornamelijk met vrouwen geassocieerd in de Vroege Moderniteit in West Europa. Hoe komt dat juist? Vandaag bespreek ik met jullie een enorm succesvolle still leven schilder, vandaag stel ik je voor aan Rachel Ruysch. Sit back, relax & enjoy! 

The still life genre has long been associated with women artists in the Early Modern Period in Western Europe. Why did women in particular dominate this genre? Today we will be discussing this fascinating genre and finding out how Rachel Ruysch became one of the most successful still life painters of the 18th century. Sit back, relax & enjoy! 

Let me introduce you to the very first female member of the prestigious painter's guild of St. Luke, let me tell you about Judith Leyster. Sit back, relax & enjoy! 

Laat me je voorstellen aan het eerste vrouwelijke lid van de St. Lukas Gilde, laat me je voorstellen aan Judith Leyster. Sit back, relax & enjoy!  

Due to the Renaissance's emphasis on the arts and humanities, the social status of artists enjoyed an immense "boost." Women artists, while facing many obstacles and restrictions due to their sex, fought for their place within the male-dominated art world. Artist Catharina van Hemessen was a such a frontrunner, innovator, and rebel of the Northern Renaissance, leaving an important mark on the course of art history. I present to you: Catharina van Hemessen. Sit back, relax & enjoy.

Als een resultaat van de Renaissance's bewondering voor de schone kunsten en de humane wetenschappen genoten kunstenaars enorm hoog sociaal aanzien. Ook al moesten vrouwelijke kunstenaars heel wat obstakels trotseren in de mannelijke kunstwereld vochten ze voor hun plaats en professionele erkenning. Catharina van Hemessen was een leading lady van de Renaissance door haar artistieke vernieuwing en rebelse breuk met de traditionele waarden van de Renaissance. Ik stel je vandaag aan haar voor, een rebel uit de Renaissance: Catharina van Hemessen. Sit back, relax & enjoy!

Hoewel ze vandaag benoemd wordt als Rubens' vrouwelijk alter ego heeft Michaelina Wautier niet altijd in de spotlight gestaan. Het leven, oeuvre, en carrière van de kunstenaares bevonden zich tot voor kort in de geschiedkundige vergetelheid. Laat me je haar meest bekende schilderijen, leven, and professionele loopbaan voorstellen. Sit back, relax & enjoy!  Wil je meer weten over Wautier?  Presentatie "If Rubens was a Woman? (2018)" door Prof. Van der Stighelen: https://youtu.be/PvbZA6ZliVA Tentoonstelling "Michaelina: De Leading Lady van de Barok" (2018) MAS Museum: https://www.mas.be/nl/michaelina