Domenicus Van Wijnen Allegory

Allegory Of Amsterdam

Allegory of Amsterdam by Domenicus Van Wijnen is a work that encapsulates Amsterdam during the 17th century. Although the work is fairly extravagant and crowded, Wijnen uses lighting to draw emphasis to three key areas of the piece. The first of which is a artist poised to begin his work at the bottom of the painting, the second being the highlighted globe with two women hovering over it, and the final area being the actual source of light in the heavens at the top of the work. All three of these fields of accentuation make individuals points about 17th century society in Amsterdam. The artist in the foreground represents Amsterdam’s influence in the arts. The globe and background represent commerce as well as Amsterdam’s presence in the world. The final area of emphasis in the heavens makes points both on religion but also on femininity. In the commotion of the entire work the artist has the greatest emphasis placed upon him as he is the most luminous, as well as the fact that he is placed in the foreground of the painting. Here Wijnen asserts the impact of art and culture in Amsterdam during this time. This is seen mostly in the fact that artist is the focal point of piece, demonstrating
the immense importance Winjen believed the arts to have during that time in Amsterdam. His depiction of the dominance of art during this time is also shown in way the figures of the work are depicted. All of the characters in the piece are composed as though they are Greek or Roman statues; the figures are coloured like marble, and the composition of their clothing is analogous to a classical statue. This phenomenon is probably a node to the extent that art and craftsmanship had in the everyday life. The arrangement and prioritization of the artist along with the use of a classical artistic look throughout the piece establishes Amsterdam during this time as a city of craftsmanship and culture.
The second feature of the painting is the area surrounding the globe. This part of the painting is representative both of Amsterdam’s dominance in Europe, particularly in terms of trade, but also indicates this time as a period of peace. The greatest emphasis in this section is on two women raised above a globe peering upon a ship that one of the women is pushing forward. Here Winjen is demonstrating the influence that Amsterdam had across the world as the ship most likely represents international trade. This symbolism quite literally shows the Dutch as having a major role on the globe. Additionally, the idea of commerce is evident throughout the entirety of the piece, as almost the entire background is massed with imagery of shipping and trade. For example, to the left of the globe, merchants are seen throwing coins into the air. This representation shows the affluency in the city, where the merchants are plainy associated with symbols of significant wealth.. Winjen’s depiction of Amsterdam shows it both as a city with global influence, as well as a being a financially prosperous city.
Along with the idea of commerce the figures surrounding the globe are holding symbols of peace. The women on the left of the globe is holding a caduceus which admittedly is a symbol of commerce, but it also as a symbol of peace and victory. The latter of these ideas is evidenced by the olive branch that is being held directly beneath the caduceus. `Here Winjen is making that claim that Amsterdam during this period was not only flourishing financially but was also in an age of peace. Both of these ideas shown in the painting are representative of the artists belief in the superiority of Amsterdam in the 17th century; Amsterdam being a place of global influence, financial prosperity, and peace.
The final point of prominence in the piece is in the heavens where the source of light appears to be coming from. Contrary to most religious works, this piece has two major differences. The first being the fact that the divine figures are all female, and the second being how shadowy and dark the figures in the sky are. Since the figures in the clouds are all female it can be safe to assume that they are not images of God, although they are most likely divine, but are more representative of motherly or protective angels looking over the city. This same point can also be seen by the women looking over the globe. Whereas the women are not controlling trade or commerce but are instead looking after the ship. During this time period Winjen is less likely to be making a claim that women have a momentous role in decisions of trade, but he is rather depicting women as a protectors, not only over the city but also over its global interests..
The last major assertion that Winjen appears to be making in this work is a pronouncement of societies lost emphasis on religion.
This is why the heavenly figures are so lightly illuminated in contrast to the artist and the imagery of commerce. Furthermore, this is idea is demonstrated where the women peering over the globe have their sole attention on the ship despite there being an angel flying above them pointing towards the heavens, trying to draw their attention. Both the of the effects of darkening the heavens as well as the angel trying to draw the women’s focus towards the sky illustrate Winjens claims about religion during the time; where individuals of Amsterdam placed a greater emphasis on art and commerce than they did on
religion.
As the piece is so large and comprehensive Winjen makes multiple claims about Amsterdam during the 17th century. He depicts it as a society of art, commerce, and peace, While also demonstrated Amsterdam’s movement towards a more secular society.
The Dutch Golden Age

The 16th and 17th centuries were the golden age for the Dutch. It was an era of economic dominance in terms of almost every sector of the economy. In terms of trade and commerce the Dutch were shipping in the East and claimed colonies in the Americas. Along with trade, cities like Amsterdam contributed in developing modern finance, where they exchanged currency, provided insurance, and even began trading forms of stocks. Even in areas like manufacturing a Dutch companies were flourishing. In most facets of the economy Amsterdam began to behave like modern businesses and in response they gained serious affluence.
The economic boom recreated society and politics where mercantile precepts played an increasingLY large role in society; this metamorphosis occured to the point where the merchant was deemed to be the backbone of society and one would not be doing their civic duty without having a role in the city’s trade. Additionally, this era had a transformation of politics, where most political decisions were determined by economic motivations. In response to this national transformation of duty many began to have questions about the morality of the increasing emphasis on wealth and trade. Many critics of the time phrased it as having an excessive emphasis on money instead of religious values. In terms of culture, allegorical art of the city, like the painting above, was often created to display Amsterdam’s vast power during the time. This style of work often depicted the maid of Amsterdam who from the town hall would watch down upon her city’s. These pieces advertised Amsterdam’s power by including imagery of the cities massive fleet and including symbols of its immense wealth. Overall the 17th century was a period of prosperity for Amsterdam.