Mary II Stuart, the Protestant Queen of England

Sometimes, when you travel to different countries and visit museums, you come across works by local artists that depict people or events significant to that country’s history. You might realise you’ve seen the same figure or story before — just in a different context. I had exactly that kind of déjà vu while going through photos of artworks I’d taken at the Rijksmuseum in Amsterdam. While walking through the museum, I didn’t have time to read every plaque. The artworks were so captivating that I simply photographed whatever caught my eye. One of those images turned out to be a bust of a noblewoman.

After returning home, I used Google Lens to identify the creator of the bust and the person it portrayed. I learned that the artist was Jan Michiel Rysbrack, and the bust depicted Mary II Stuart, Queen of England. That discovery piqued my curiosity, so I went online to find out more. To my surprise, I realised I had already written about her a few years ago — in a post on the history of … Scotland.

The sculptor, a renowned Flemish artist, made significant contributions to British art in the 18th century. Born in 1694 in Antwerp – now part of Flanders, the Dutch-speaking region of Belgium – he moved to London in 1720. Back in 1700, Antwerp was still part of the Spanish Netherlands, a region in the southern Low Countries that remained under Spanish control from the 16th century until the early 18th century. Because of my work, I’ve often travelled to Belgium, and my recent trip to the neighbouring Netherlands might be the perfect occasion to write a post on the fascinating history of this region sometime soon.

For now, however, I’ll turn my attention to Mary Stuart, and explore why a Queen of England from a Scottish dynasty is featured so prominently in one of the main galleries of the Rijksmuseum in Amsterdam.

Mary II Stuart was born in 1662 at St. James’s Palace in London. She was the eldest daughter of James, Duke of York (later James II of England) and his first wife, Anne Hyde. Mary belonged to the Scottish Stuart dynasty, which had ruled England since the early 17th century. Although her father was a Catholic, Mary was raised as a Protestant – a decision that would prove crucial later in her life. Her uncle, Charles II, who was king at the time of her birth, was publicly Protestant, though he is believed to have converted to Catholicism on his deathbed. During his reign, it was politically expedient to maintain a Protestant public image in order to secure Parliament’s support and preserve stability. As for James, Mary’s father, the exact date of his conversion remains uncertain, but it is thought he became Catholic in the late 1660s. He kept his faith private for several years to avoid political repercussions, but by 1673, his conversion was publicly known. Nonetheless, keeping Mary’s Protestant upbringing was seen as vital to reassure Parliament and the English public that the Protestant succession would continue.

At the age of 15, in 1677, Mary married her first cousin, William of Orange – a Protestant and the son of William II, Prince of Orange, and Mary, Princess Royal of England, who was the daughter of Charles I of England. The marriage was part of a wider political effort to secure Protestant alliances for the British throne. At the time, Charles II, King of England and Mary’s uncle, was in poor health and – at least officially – remained Protestant.

William III of Orange was not King of the Netherlands in the modern sense of the term. Instead, he held the title of Stadtholder of the Dutch Republic from 1672. The Dutch Republic was a confederation of provinces in what is now the Netherlands, and the role of Stadtholder was neither hereditary nor equivalent to a monarchy. It was an appointed position, granted by the provinces, and primarily served as a military commander and political leader, rather than a sovereign ruler.

The Dutch Republic, officially known as the Republic of the Seven United Netherlands, was established in the northern part of the Low Countries in 1648, after gaining independence from Spain. Southern provinces such as Flanders, Brabant, and Hainaut remained under Spanish Catholic rule, a territory known as the Spanish Netherlands.

Mary’s father, James II, ascended to the English throne in 1685, but his Catholic faith and increasingly autocratic rule led to growing discontent across the kingdom. William’s marriage to Mary placed him in a strong position to challenge his father-in-law. In 1688, William III of Orange invaded England in what became known as the Glorious Revolution. James II fled to France, and William and Mary were jointly offered the throne by the English Parliament. Mary II reigned alongside William III until her death in 1694, and she was buried in Westminster Abbey. William continued to rule alone until his own death in 1702.

In the years that followed, the Jacobites — supporters of the deposed Stuart king James II and his descendants — sought to restore the Stuart monarchy to the thrones of England, Scotland, and Ireland, but ultimately failed in their efforts. Great Britain remained Protestant, and the Hanoverian dynasty eventually solidified its rule. The name Jacobite comes from Jacobus, the Latin form of James.

Mary II Stuart, the Protestant Queen of England

Van Gogh. Genius, Struggle and a Posthumous Fortune

He sold almost nothing during his lifetime. Now his paintings are auctioned for millions, printed on mugs, and displayed in packed museums. A visit to the Van Gogh Museum in Amsterdam offers not just a look at the art – but at the myth that grew around the artist.

Vincent van Gogh was a Dutch post-impressionist painter, born in Groot-Zundert, Netherlands. Over his lifetime, he created more than two thousand artworks, including around 860 oil paintings, most of which were produced in the last two years of his life.

Van Gogh’s early works were dark and sombre, reflecting the influence of the Dutch masters. This period, known as his Dutch phase, lasted from around 1880 to 1885 and focused on depicting peasant life and the harsh realities of rural existence. His early paintings predominantly used dark, earthy tones such as browns, greys, and muted greens, inspired by the works of artists like Rembrandt and Frans Hals, whom he admired.

In 1886, Van Gogh moved to Paris, where he encountered the works of the Impressionists and Neo-Impressionists. This exposure led to a significant shift in his style. He began to use brighter colours and experimented with more dynamic brushwork, moving away from the dark and sombre tones of his earlier works. This transition marked the beginning of his journey toward the vibrant and expressive paintings for which he is best known.

In 1888, Van Gogh moved to Arles in southern France. His time in Arles was both highly productive and tumultuous, marked by his struggle with mental illness. Despite his illness, he continued to paint, creating some of his most profound work. On July 27, 1890, Van Gogh shot himself and died two days later at the age of 37.

Vincent van Gogh’s emotional and mental health struggles profoundly influenced his life and work. While there is no definitive diagnosis, it is widely believed that he suffered from several mental health issues, including severe depression, bipolar disorder, and possibly borderline personality disorder. He went through prolonged periods of sadness, hopelessness, isolation, and complete withdrawal from social life. During these episodes, he often stopped painting or wrote about feeling useless, a burden, or emotionally paralysed. In some letters to his brother, he expressed deep despair and a sense that his efforts had no meaning or impact. His behaviour also included sudden shifts in mood and energ. He would go through intense bursts of creative activity – sometimes painting a dozen works in just a few weeks – followed by equally intense crashes, where he became exhausted, anxious, or withdrawn. He intensevely feared abandonment, his relationships were instable and his emotional reactions he brought to extreme.

Van Gogh’s mental health issues became apparent in his early adulthood. Mental illness ran in his family, suggesting a genetic predisposition. Additionally, his financial instability, professional frustrations, and tumultuous personal relationships added significant stress to his life. Van Gogh’s use of alcohol, particularly absinthe, may have further exacerbated his mental health issues.

One of the most well-known episodes in Vincent van Gogh’s life was the ear-cutting incident, which followed a heated argument with his friend and fellow artist, Paul Gauguin, who had come to stay with him in Arles. Van Gogh and Gauguin first met in Paris, where they were part of the avant-garde art scene. They shared a common interest in new approaches to art. Van Gogh appreciated Gauguin’s bold use of colour and symbolic content, while Gauguin respected Van Gogh’s emotive use of colour and dynamic brushwork.

Gauguin arrived in Arles in October 1888, and the two artists initially worked side by side, discussing and influencing each other’s work. However, significant differences in their artistic visions and temperaments soon emerged. Van Gogh’s intuitive and emotional approach to painting clashed with Gauguin’s more methodical and symbolic style. Living together in close quarters exacerbated their personal differences, and Van Gogh’s mental health issues, including bouts of depression and erratic behaviour, further strained the relationship. The tension culminated in a heated argument on December 23, 1888. That night, after Gauguin threatened to leave, Van Gogh experienced a severe mental breakdown and cut off part of his own left ear. This dramatic event led to Gauguin’s immediate departure from Arles. The exact details of the argument are not fully known, but it is believed to have been intense and emotionally charged. Vincent later created several self-portraits that depicted his bandaged ear, reflecting on this traumatic event. These works are among his most famous. Following the ear incident, Van Gogh and Gauguin never saw each other again. However, they continued to correspond sporadically, maintaining a distant but respectful relationship.

After the ear incident, Van Gogh was hospitalised multiple times. He voluntarily admitted himself to the Saint-Paul-de-Mausole asylum in Saint-Rémy-de-Provence in 1889. During his time there, he continued to paint, producing some of his most famous works, despite experiencing frequent episodes of psychosis.

Van Gogh’s work, initially not well received, gained widespread acclaim only after his death. He often struggled financially, which influenced his work and methods. Due to his limited resources, he sometimes couldn’t afford to pay for models. As a result, he painted numerous self-portraits. Van Gogh created over 30 self-portraits between 1886 and 1889. These self-portraits are not only a study of his own image but also an exploration of different techniques and styles, allowing him to practise without incurring additional costs.

In addition to his self-portraits, Van Gogh would often paint on both sides of the canvas to save money. This practice allowed him to make the most of his limited materials. Some of his paintings hence have another work hidden on the reverse side, which has been discovered through modern technology such as X-ray imaging.

Theo van Gogh, Vincent van Gogh’s brother, played a crucial role in his life and career. Theo provided Vincent with regular financial support, which allowed him to buy art supplies and cover basic living expenses. The brothers maintained a close and deeply supportive relationship, primarily through their extensive correspondence. Theo was an art dealer in Paris, which exposed him to the contemporary art scene. He introduced Vincent to new artistic movements and influential artists, significantly impacting Vincent’s style and techniques. Theo was a tireless advocate for Vincent’s art. He promoted his brother’s work within his professional network, helping to arrange exhibitions and attempting to sell his paintings. Despite these efforts, Vincent achieved little commercial success during his lifetime. After Vincent’s death, Theo continued to promote his brother’s work, helping to secure his posthumous fame. Tragically, Theo died just six months after Vincent, in January 1891, but his efforts were crucial in ensuring that Vincent van Gogh’s artistic legacy endured.

After the deaths of Vincent and his brother Theo, it was Theo’s widow, Johanna van Gogh-Bonger, who played a pivotal role in bringing Vincent’s work to the world’s attention. She inherited Vincent’s paintings and letters, and devoted herself to promoting his art and legacy. Johanna organised exhibitions of Vincent’s work and published his letters, which helped to reveal the depth and passion of his artistic vision. These exhibitions were crucial in introducing his work to a broader audience

One of the first major exhibitions of Van Gogh’s work was held in Paris, receiving significant attention from both critics and the public. It was organised by Ambroise Vollard, a prominent art dealer in Paris, known for his support of Post-Impressionist artists. As an influential dealer, Vollard had the connections and reputation to attract collectors and critics to the exhibition, significantly boosting Van Gogh’s posthumous fame. 

Vincent van Gogh’s paintings remain some of the most expensive and desirable artworks in the world. Notable sales include “Portrait of Dr. Gachet,” which sold for $82.5 million in 1990, “Laboureur dans un champ,” which fetched $81.3 million in 2017, and “Irises,” sold for $53.9 million in 1987. Other significant sales are “L’Allée des Alyscamps,” which went for $66.3 million in 2015, and “Landscape Under Stormy Sky,” sold for $54 million in 2021.

These high prices reflect the legacy and universal appeal of Van Gogh’s artistic vision. He painted in solitude, struggled in silence, and left behind a legacy that would only be recognised long after his death. Today, his life is as closely examined as his brushstrokes. Visiting the museum in Amsterdam, and reading about the prices his work now commands, it’s hard not to think about how easily genius can be overlooked. Still, much of what we know and admire today is thanks to Johanna van Gogh-Bonger, his brother Theo’s widow, who preserved his letters, promoted his paintings, and quietly shaped the image of the artist we now recognise.

Van Gogh. Genius, Struggle and a Posthumous Fortune

The Markthal of Rotterdam

As during World War II, the city of Rotterdam (Netherlands) was severely damaged, and the city center was almost completely flattened. A decision was made not to restore the old structures, but rather to reconstruct the city with a focus on functionality and modernity. Consequently, sightseeing in the city center is more about spending time among the modern buildings and enjoying leisure time. One of the buildings worth visiting is the Markthal of Rotterdam.

The Markthal of Rotterdam combines residential and commercial spaces in a single structure. Opened in 2014, it was designed by MVRDV, a renowned Dutch architectural firm. Before Markthal was constructed, the site was primarily an open market square known as the Binnenrotte. It was one of the largest market squares in the Netherlands and hosted a bustling outdoor market. This market tradition continues today, with an outdoor market still operating adjacent to Markthal on specific days.

The Martkhal seen from the outside (in the middle).

The building is an arch-shaped structure constructed using a combination of concrete and steel, with a glass facade on both ends of the arch with a large covered market hall in the center. The glass facades allow natural light to flood the interior. The arch contains more than 200 apartments, many of which have windows facing the interior market space. The design includes sound insulation to ensure that residents are not disturbed by the market activities.

The interior of Markthal hosts more than 100 fresh food stalls, numerous food shops and restaurants. It offers a wide variety of products, including local Dutch specialties, international cuisines, fresh produce, meats, and cheeses. In addition to shopping, visitors can enjoy a wide variety of ready-to-eat meals and snacks. The Markthal also includes a supermarket and a huge underground parking garage providing convenient access for both residents and visitors.

The inner walls and ceiling of the market are adorned with a massive artwork called “Horn of Plenty” by artists Arno Coenen and Iris Roskam. This colorful digital mural spans over 11,000 square meters, depicting enlarged images of fruits, vegetables, and other food items, creating a visually stimulating environment. “Horn of Plenty” was created using advanced digital techniques and printed on perforated aluminum panels.

Our stay in Rotterdam was only for around two hours as we wanted to grasp a glimpse of this city on our way from Kinderdijk to The Hague. As I had some problems with walking and needed to rest longer than my fellow companions, I decided to spend most of the time inside the Markethal, taking photos as well as making use of the rich food offer. The Markethal’s modern and vibrant architecture made it a fascinating spot for photography, with its colorful ceiling artwork and bustling atmosphere. I also took the opportunity to explore the various stalls and indulge in some local delicacies. My choice was slices of herring and fish soup.

The Markthal of Rotterdam