Martine van Elk’s Early Modern Women: Lives, Texts, Objects is a fascinating blog that offers interdisciplinary and comparative analysis of early modern women authors and artists. The blog emphasizes that authorship, writing, and artistic endeavors were often interlinked as different aspects of self-expression. It has a search function, as well as an archive drop down by month and a category filter with options such as courtesans, biography, marriage, and religious women. Van Elk also accepts guest posts, which seem to represent more than half of the entries.
Its greatest strength is that Van Elk highlights the lives and works of a transnational group of women, typically English and Dutch, which reflects her 2017 monograph on early modern women writers in England and the Dutch Republic. She argues that seventeenth-century women need to be examined from a cross-cultural perspective to more fully understand the collective experience of early modern women as a whole.
The blog is suitable for both a general and a scholarly audience, as she highlights little know women and topics that could be introductory to students and those interested in the early modern period, yet every entry contains a section with references for further reading and most entries engage with the historiography of the subject. The entries are typically about 2,000 words and take many different foci, from one single object, such as the handkerchief (18 September 2016), to a theme, such as mottos (18 October 2016) or engraving (22 February 2017), to case studies of a specific woman or group of women, such as Celia Fiennes (18 June 2018) and Susanna Teellinck (10 July 2019).
My favorite entry is on female engravers, one written by Van Elk herself. In this post, Van Elk explores to what extent copper engraving was a gendered activity, in that it would have taken place in a male-dominated print shop. She finds print-making to be a collaborative activity between a designer, engraver, and publisher. Seventeenth-century female engravers were rare, but when known, it seems like they also had male relatives who were engravers and they worked within a family business. Magdalena van de Passe (1600–1638) was daughter and sister to male Dutch engravers, and created prints by the time she was 14 years old. Her engravings often were derivative of other engravers, which Van Elk suggests could be understood as translations, in the way that translation of texts was a more suitable activity for women than was original writing.
Sadly, the most recent blog entry is from July 2019, and it was written by a guest. As many of Van Elk’s own posts stemmed from research for her 2017 book, hopefully new posts will arrive as she works on her own new research. She is also a main contributor to the Early Modern Female Book Ownership blog (previously reviewed here), where her newest entries can be found.
Valerie Schutte has published widely on royal Tudor women, book dedications, and queenship. Her second monograph, Princesses Mary and Elizabeth Tudor and the Royal Gift Book Exchange, will be published with ARC Humanities Press in 2021.