The subtleties of the material world are shaped by a history of movement, as seen through the study of art through a historical lens.

The Isabel Bader Centre for the Performing Arts was alive with anticipation on Nov. 15, as the Agnes Etherington Art Centre hosted the fifth annual Isabel and Alfred Bader Lecture in European Art. Stephanie Porras of Tulane University delivered this year’s talk titled, The Dutch in the Americas. A renowned expert in Netherlandish art, Porras shared her research on Dutch art in a global context with the Kingston community.

The free public event attracted attendees from Queen’s and beyond, with virtual options ensuring accessibility. Over 160 participants registered online, and a recording of the lecture remains available for future viewing.

The lecture took place on Queen’s annual “Bader Day,” commemorating the late Alfred Bader, Sci ’45, marking the first day he arrived on campus as a student on Nov. 15, 1941. Bader was a chemist, art collector, philanthropist, and alumnus who made transformative contributions to Queen’s through various donations, including art, bursaries, fellowships, and funding for Bader College in England as well as the Isabel Bader Centre for the Performing Arts.

“It’s a day that across campus, we think about him and the Bader family’s legacy, so it felt very appropriate to have the lecture return every year on that day,” Suzanne van de Meerendonk, Bader curator of European art said in an interview with The Journal.

Many know the Dutch as masters of 17th-century art, but Porras’ work focuses on a lesser-known side of their history. With presence in North and South America, the Caribbean, and Africa, the Dutch heavily influenced global trade and colonialism.

Porras explained how Dutch artists and artisans—influenced by the colonies—created works incorporating materials and cultural symbols across the Atlantic. Beaver pelts, pearls, sugar, gold, and pigments are just a few examples of objects traded by the West India Company, influencing Dutch art and material culture from New York to Northeast Brazil.

Highlighting the Dutch’s maritime prowess, Porras revealed how national categories and identities are arbitrary, due to the vast, constantly shifting geographic range known as the “Americas.” The global spread of tobacco serves as an example of Dutch influence—a phenomenon embedded in 17th-century art and culture.

Van de Meerendonk noted the importance of discussing art from this period with sensitivity.

“The last decade has seen much more attention to how these European nations operated through their empires, all impacting European art,” she said. “Scholars are starting to grapple with, ‘How do you write about art in a way that’s sensitive and that gives credit to the other cultures within the complicated context of colonialism?’”

The lecture also underscored the importance of Dutch art to the University. The Bader Collection, which includes four Rembrandt pieces, is currently on display at the Art Gallery of Ontario in Toronto until spring 2026 while the Agnes Etherington Art Centre undergoes construction.

Van de Meerendonk shared her favourite piece from the collection, Michael Sweerts’ Self-Portrait with Skull.

“He sticks his finger in the nasal cavity of the skull, so it’s a comment on how this portrait in a way immortalized him. Ironically, he passed away not too long after painting it,” she said, sharing her enthusiasm for rediscovering works within the collection’s 17,000 pieces.

As well as learning about the intricacies of Dutch history, this event gave students and community members a unique opportunity to network with visiting scholars and art history enthusiasts, expanding academic pursuits and fostering connections through an evening of learning and conversation.

“This lecture plays a role in highlighting exciting research and connecting it to our collection,” van de Meerendonk said.

As Queen’s continues to celebrate the Bader family’s legacy, “The Dutch in the Americas” stands out by contributing meaningful insights about Dutch art and its influence on the material world. Dr. Porras illuminated the dimensions of European art, enriching the audience’s understanding of global history and the culture around us.

Originally published in the Queen’s Journal.