Weaving a business
Clara de Hont’s (1664-1751) tapestry workshop in Amsterdam
In: Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek OnlineSearch for other papers by Rudy Jos Beerens in
Current site
Google Scholar
Abstract
This article sheds new light on the agency of women in the early modern tapestry industry by zooming in on the Amsterdam tapestry producer Clara de Hont (1664–1751). Like most women involved in tapestry making, De Hont’s history was long overshadowed by that of the men around her. She was often referred to solely as the wife or widow of Alexander Baert, with much of her art misattributed to him. This contribution breaks with this androcentric focus. Using new archival findings, it describes De Hont’s role in the establishment and management of her family’s workshop and explores the artistic and entrepreneurial choices she made to keep her business afloat. In addition, De Hont’s situation is compared to that of other women in the tapestry industry in order to emphasize the diversity of strategies that women had to use to carve out spaces for themselves and survive in a male-dominated field.
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| All Time | Past 365 days | Past 30 Days | |
|---|---|---|---|
| Abstract Views | 305 | 44 | 4 |
| Full Text Views | 240 | 141 | 8 |
| PDF Views & Downloads | 653 | 341 | 14 |
Weaving a business
Clara de Hont’s (1664-1751) tapestry workshop in Amsterdam
In: Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek OnlineSearch for other papers by Rudy Jos Beerens in
Current site
Google Scholar
PubMed
Abstract
This article sheds new light on the agency of women in the early modern tapestry industry by zooming in on the Amsterdam tapestry producer Clara de Hont (1664–1751). Like most women involved in tapestry making, De Hont’s history was long overshadowed by that of the men around her. She was often referred to solely as the wife or widow of Alexander Baert, with much of her art misattributed to him. This contribution breaks with this androcentric focus. Using new archival findings, it describes De Hont’s role in the establishment and management of her family’s workshop and explores the artistic and entrepreneurial choices she made to keep her business afloat. In addition, De Hont’s situation is compared to that of other women in the tapestry industry in order to emphasize the diversity of strategies that women had to use to carve out spaces for themselves and survive in a male-dominated field.
| All Time | Past 365 days | Past 30 Days | |
|---|---|---|---|
| Abstract Views | 305 | 44 | 4 |
| Full Text Views | 240 | 141 | 8 |
| PDF Views & Downloads | 653 | 341 | 14 |
