On October 23rd, the Institute of European Studies at UC Berkeley (IES), in collaboration with the BENELUX Program, the Department of History, and Flanders in the USA, hosted a lecture featuring Anne-Laure Van Bruaene, a professor at Ghent University in Belgium. The event focused on the life and works of Lucas d’Heere, a Flemish artist and poet who spent several years in exile in Elizabethan London. The lecture was moderated by Professor Jeroen Dewulf, Director of IES, with twelve participants in attendance.
Van Bruaene’s lecture centered around d’Heere’s three major works produced during his exile in London: a collection of French poetry, a description of the British Isles, and a book on global costumes. These works reflect the economic and social realities faced by Flemish and Dutch exiles in late 16th century London, while also promoting a shared cultural history across national boundaries. D'Heere fled to England as a religious refugee, escaping the violent repression in Flanders, where the Spanish Empire was brutally cracking down on the Protestant Reformation.
Van Bruaene highlighted d'Heere’s nuanced position as a religious refugee who, despite his artistic success, encountered significant social and economic challenges. She focused on his manuscript, Théâtre de tous les peuples et nations de la terre, which concludes with an image of a nearly naked Englishman, mocking the erratic nature of English fashion at the time. The contrast between the extravagant, ever-changing clothing styles of the English nobility and the simple, functional attire of an Inuit man embodies more than just a critique of fashion—it mirrors d'Heere's moral and religious worldview.
The nearly naked Englishman symbolizes the constant shifting and superficiality of English fashion, driven by a desire to mimic foreign styles. This contrasts sharply with the modest attire prescribed by the Dutch Reformed Church. The Inuit man, on the other hand, is portrayed in a simple outfit with a kayak behind him, representing purity, humility, and a connection to nature—values that aligned with d'Heere’s conservative beliefs. This juxtaposition highlights the artist’s critique of the frivolity of English high society while elevating dignity of non-European cultures, whose simplicity he admired as a reflection of moral virtue.
While d'Heere secured notable patronage and worked on high-profile commissions, his experience reflects the broader struggles faced by migrant artists in England, particularly in gaining access to professional guilds. Although skilled artisans like d’Heere were often welcomed by elites, they were frequently excluded by the local guilds and faced difficulties integrating into broader English society. Economic tensions often led to violence against refugee communities, who were perceived as taking jobs.
D'Heere’s Théâtre de tous les peuples et nations de la terre, which features the coat of arms of Queen Elizbeth, was considered by some to be a potential gift to the Queen. However, Van Bruaene argued that it was more likely a display of his artistic talent, intended to secure patronage. The work categorizes dress from various cultures, reflecting Renaissance humanist ideals of order and classification. D'Heere’s portrayal of various peoples, such as the Inuit and the indigenous Picts of Britain, is notable for the contrast between the "naked Englishman" and the strength and bravery attributed to non-European figures. D’Heere’s appreciation for cultural diversity was also tempered with his conservative religious views, as he upheld a strict view of social hierarchy and appropriate dress according to one's societal status.
Following the lecture, the Q&A session brought up an interesting question about the role of female migrants and the potential involvement of d'Heere's sister, who may have been a miniature painter. Van Bruaene clarified that while it's uncertain whether she actually painted, Flemish women were permitted to join painters' guilds, and some became renowned miniature painters. She also responded to questions about d'Heere's Théâtre de tous les peuples et nations de la terre, emphasizing that the costumes depicted were often historical or culturally neutral, rather than early expressions of nationalism. Additionally, she highlighted d'Heere’s portrayal of well-dressed Ethiopian Christian missionaries, which offered a counter-narrative to typical Eurocentric depictions of non-Europeans.