Allegorie van het Gelukkig Leven 1677 - 1755

Elias van Nijmegen created this watercolor, ‘Allegory of the Happy Life,’ likely in the early 18th century. The image presents a female figure, draped in classical garb and seated amidst symbols of prosperity and peace. This Holland of Van Nijmegen was shaped by its Golden Age, which was a period marked by unprecedented economic and cultural flourishing, but also deepening social stratification. The visual codes of classical allegory, combined with the presence of a dove, create an idealized vision of contentment. But what are the politics of representing a ‘happy life’ during a time of growing inequality? To interpret this work, we need to examine not only the artistic conventions of the time, but also the economic structures that would determine how that life could be achieved. Art historians might consult period writings on moral philosophy, as well as economic data, to understand the complex social context in which this image was made. The meaning of art always depends on the society from which it emerges.