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Satirical print of tulipmania
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Satirical print of tulipmania
Satirical print of tulipmania. Etching from De drie t Zamenspracken ---- Roman A. [or author unknown], De drie tZamenspraecken Tusschen Waermondt en Gaergoedt, over de op- en ondergang van flora; als mede Floraes zotte-bollen, Troost-brief, en een register der tegenwoordighe meets geachte hyacinthen met der zelver prysen. Gedruckt by Johannes Marshoorn, 1734, 219+24 p. Date: 1734
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Media ID 10290363
© The John Innes Centre/The John Innes Foundation/Mary Evans
1734 Etching Flora Satirical Unknown Mede
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EDITORS COMMENTS
This satirical etching, titled "De drie tZamenspraecken Tusschen Waermondt and Gaergoedt, over de op- en ondergang van flora; als mede Floraes zotte-bollen, Troost-brief, en een register der tegenwoordighe meets geachte hyacinthen met der zelver prysen," was created in 1734 by an unknown artist, likely from the Netherlands. The title translates to "The Three Agreements Between Waermondt and Gaergoedt, Concerning the Rise and Fall of Flora: Also Flora's Naughty Bulbs, Consolation Letter, and a Register of the Current Fashioned Hyacinths with Their Own Praise." The print satirizes the infamous Dutch Tulip Mania, a period of economic bubble and speculation in the late 1630s. The two figures, Waermondt and Gaergoedt, are depicted in the foreground, engaged in a heated negotiation over the sale of tulip bulbs. The bulbs, personified as voluptuous women, are displayed in the background, surrounded by admirers and onlookers. The scene is filled with humor and exaggeration, as the bulbs are shown being carried on litters, dressed in fine clothing, and even being offered as a substitute for a missing child. The print also includes a register of the current fashions in hyacinths, further highlighting the obsession with these flowers during the Tulip Mania. The satire serves as a commentary on the excesses and folly of human nature, particularly in regards to the pursuit of material wealth and status. The etching is a fascinating glimpse into the cultural and historical context of the time, and a reminder of the enduring power of satire to critique and entertain.
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