Using Pieter de Marees' Description and Historical Account of the
Gold Kingdom of Guinea (1602) as her main source material, author
Elizabeth Sutton brings to bear approaches from the disciplines of
art history and book history to explore the context in which De
Marees' account was created. Since variations of the images and
text were repeated in other European travel collections and
decorated maps, Sutton is able to trace how the framing of text and
image shaped the formation of knowledge that continued to be
repeated and distilled in later European depictions of Africans.
She reads the engravings in De Marees' account as a demonstration
of the intertwining domains of the Dutch pictorial tradition,
intellectual inquiry, and Dutch mercantilism. At the same time, by
analyzing the marketing tactics of the publisher, Cornelis Claesz,
this study illuminates how early modern epistemological processes
were influenced by the commodification of knowledge. Sutton
examines the book's construction and marketing to shed new light on
the social milieus that shared interests in ethnography, trade, and
travel. Exploring how the images and text function together, Sutton
suggests that Dutch visual and intellectual traditions informed
readers' choices for translating De Marees' text visually. Through
the examination of early modern Dutch print culture, Early Modern
Dutch Prints of Africa expands the boundaries of our understanding
of the European imperial enterprise.
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