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This article focuses on the picture “Moroccans,” by Jacques Kuyper, in Martinus Stuart’s work. Although the picture of the “Moroccans” does not have any special art-historical value, it is interesting as a document-cum-monument that tells a fascinating story about another tipping point with regard to the image of Islam in Dutch history. “Moroccans” conveys a message that a twenty-first-century beholder cannot, or can no longer, grasp at a glance. This message cannot be understood unless the picture itself, as well as Martinus Stuart’s comment to it, is studied, and both are interpreted in their own socio-historical context. This article focuses on the picture “Moroccans,” by Jacques Kuyper, in Martinus Stuart’s work. Although the picture of the “Moroccans” does not have any special art-historical value, it is interesting as a document-cum-monument that tells a fascinating story about another tipping point with regard to the image of Islam in Dutch history. “Moroccans” conveys a message that a twenty-first-century beholder cannot, or can no longer, grasp at a glance. This message cannot be understood unless the picture itself, as well as Martinus Stuart’s comment to it, is studied, and both are interpreted in their own socio-historical context.
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