Portret van Eva Vliegen 1614

Andries Stock created this engraving, “Portret van Eva Vliegen,” in 1614. Eva Vliegen is depicted with a serene composure; in her hands, she delicately holds a posy of flowers. But, it is the inscriptions that frame her image which offer a narrative. During the 17th century, the Dutch Republic was undergoing significant social and religious transformations. Protestant ideals emphasized individual piety and a more direct relationship with God. In the context of these shifting values, the portrait of Eva Vliegen carries multiple layers of meaning related to gender, virtue, and societal expectations. The inscriptions allude to the deceptive nature of appearances, juxtaposing Eva’s innocent demeanor with a warning about hidden intentions. This contrast invites contemplation on the role of women, who are at once celebrated for their purity, yet suspected of harboring deceit. The lines, “Wel Eva, zy die eerst oock Eva was gheheten, bedrooch den eersten Man door middel van het eten,” reference the biblical Eve and the fall of man. The connection between women, deception, and moral corruption was an old trope then. This portrait performs a complex negotiation between celebrating female virtue and cautioning against female guile.