Drawing and drawings Books

Book SynopsisAfter the Reformation the successful painter Paul Lautensack (1477/78-1558) dedicated himself to spreading revelations on the nature of God. Lautensack was besides Dürer the only German artist who wrote against the iconoclasts, and he believed that he as a painter could explain the images of Revelation better than theologians like Luther. He presented his insights in hundreds of highly sophisticated diagrams that display a wide range of material accessible to an urban craftsman, from the vernacular Bible to calendar illustrations. This study is the first monograph on this extraordinary man, it presents a corpus of his surviving works, analyzes his peculiar theology of the image and locates the elements of his diagrams in the visual world of the Reformation period.Trade Review"Lucid, precise, and well organized are not words that come to mind when confronted by Lautensack’s obsessive and often hermetic refigurings of sacred Scripture. Yet all these qualities characterize this impressive contribution to our knowledge of one the Reformation’s more remarkable offspring. [...] Kress follows this study in contextualization with a penetrating analysis of Lautensack’s diagrammatic method. [...] In Kress’s hands, Lautensack becomes, if not altogether comprehensible, at least graspable. Despite their dealing with post-medieval material, students of medieval diagrams will find many useful ideas in Kress’s historically well-informed analyses." Jeffrey Hamburger, Harvard University. In: Medium Aevum 84/1 (2015), p. 142f. 0 “This immensely impressive work of painstaking scholarship will be of interest to all scholars interested in the art, theology, and religious practice of the German Reformation and in the broader trajectories of arcane knowledge in the early modern period.” Andrew Morrall, Bard Graduate Center. In: Renaissance Quarterly, Vol. 69, No. 3 (Fall 2016), pp. 1069-1070. Kathrin Müller, in Kunstchronik 68/5 (2015), pp. 234-240. Susanna Berger, in Print Quarterly 32/4 (2015), p. 426f.Table of ContentsList of Illustrations List of Lautensack’s Manuscripts and Tracts Acknowledgments Abbreviations Introduction 1. Paul Lautensack’s Life and Work I. Bamberg II. Nuremberg, 1528–37 III. Nuremberg, 1538–58 2. Lautensack as Theological Author I. Lautensack’s Calling and Authority II. Lautensack and the Reformation III. Lautensack and Iconoclasm 3. Lautensack’s Diagrams: An Introduction I. Grids II. Biblical Quotations III. Lists of Names IV. Alphabets V. Single Words VI. Images 4. Lautensack’s Early Diagrams I. The Evangelists II. Drawings for the Pater Noster III. Drawings for the Creed IV. Patriarchs and Apostles V. Pater Noster and Credo in Manuscripts L, A and K VI. Additional Tracts in Manuscripts L, A and K 5. Lautensack’s Later Diagrams I. Circular Diagrams II. Four-Part Divisions III. Celestial Prodigies IV. Innovations in the Layout from the 1540s and 1550s V. The Limbs of Christ and Other New Subject-Matter in the 1540s and 1550s 6. The Reception of Lautensack’s Works I. Peter Dell’s Relief II. The Manuscript Tradition III. Abraham Meffert IV. Pseudo-Weigel V. Paul Kaym and Abraham von Franckenberg VI. The Rosicrucian Movement and the 1619 Edition VII. Georg Christoph Brendel Conclusion Appendix: Catalogue of Drawings, Manuscripts and Printed Editions Autograph Drawings 1. Berlin, Kupferstichkabinett, KdZ 842–73, 1033–34 (D) Autograph Manuscripts 2. Augsburg, Staats- und Stadtbibliothek, 4° Cod. 91 (A) 3. Berlin, Kupferstichkabinett, Hs. 79 C 4 (K) 4. London, British Museum, Department of Prints and Drawings, 1923,0712.2 (L) 5. Nürnberg, Germanisches Nationalmuseum, Hs. 3,147 (N) Copies of Autograph Tracts 6. Bamberg, Staatsbibliothek, RB.Msc. 166 (B) 7. Berlin, Staatsbibliothek zu Berlin Preußischer Kulturbesitz, Ms. germ. fol. 519 (S) 8. Berlin, Staatsbibliothek zu Berlin Preußischer Kulturbesitz, Ms. germ. quart. 1,957 (T) 9. Hamburg, Staats- und Universitätsbibliothek, theol. 1,231 (missing) (H) 10. London, The Warburg Institute, FHH 198 (W) 11. Halle, Universitäts- und Landesbibliothek, 23 B 11 (1) and 23 B 11 (2) (U and V) 12. Berlin, Staatsbibliothek zu Berlin Preußischer Kulturbesitz, Ms. germ. fol. 1,179 (Q) 13. Leiden, Universiteitsbibliotheek, ms. VCQ 44 (R) 14. Erfurt, Bibliothek des Evangelischen Ministeriums im Augustinerkloster Erfurt, Msc. 13 (E) Meffert’s Edition of Lautensack (-m) 15. Bamberg, Staatsbibliothek, RB.Msc. 167 (Bm) 16. Breslau, Stadtbibliothek, R292 (Cm, lost) 17. København, Kongelige Bibliotek, Thott 40 2° (Km) 18. Lübeck, Stadtbibliothek, Ms. theol. germ. 98 (Lm) 19. München, Bayerische Staatsbibliothek, Cgm 4,416-18 (Mm) 20. Wien, Österreichische Nationalbibliothek, cpv 12,608 (Vm) 21. Wolfenbüttel, Herzog August Bibliothek, Cod. Guelf. 35 Blank. (Wm) Meffert’s Comments on Lautensack (-s) 22. Leiden, Universiteitsbibliotheek, ms. VCQ 1, fols. 64v–70r (Rn) 23. Wolfenbüttel, Herzog August Bibliothek, Cod. Guelf. 778 Helmst., fols. 12r–21r (Wn) Kaym’s Edition of Lautensack (-k) 24. København, Kongelige Bibliotek, Thott 39 2° (Kk) Anonymous Tracts Inspired by Lautensack (-b) 25. Berlin, Staatsbibliothek zu Berlin Preußischer Kulturbesitz, Ms. germ. fol. 1,070 (Sb) 26. Hamburg, Staats- und Universitätsbibliothek, theol. 1,235 (Hb) Further Manuscripts about Lautensack (-s) 27. Nürnberg, Stadtarchiv, Rep. E 1 / 931 (olim Lautensack 54 30) (Ns) 28. Zürich, Zentralbibliothek, Car I 262, fols. 68r–76r (Zs) Texts Incorrectly Associated with Lautensack (-x) 29. Hamburg, Staats- und Universitätsbibliothek, theol. 1,892, pp. 607–699 (Hx) 30. Kassel, Hessische Landesbibliothek, 4° Ms. chem. 72, fols. 302v–6r (Kx) Lost Manuscripts Printed Editions 1. Paulus Lautensack, Offenbahrung Jesu Christi (Franckfurt am Mayn: Jennis, 1619, prints o, t, g and a) 2. Tracts in the Unschuldige Nachrichten (Leipzig: Braun, 1711, print u) Bibliography Index of Names and Places Index of Biblical References Index of Subjects Illustrations

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Book SynopsisThe Flowering of Ecology presents an English translation of Maria Sibylla Merian’s 1679 ‘caterpillar’ book, Der Raupen wunderbare Verwandelung und sonderbare Blumen–Nahrung. Her processes in making the book and an analysis of its scientific content are presented in a historical context. Merian raised insects for five decades, recording the food plants, behavior and ecology of roughly 300 species. Her most influential invention was an 'ecological' composition in which the metamorphic cycles of insects (usually moths and butterflies) were arrayed around plants that served as food for the caterpillars. Kay Etheridge analyzes the 1679 caterpillar book from the viewpoint of a biologist, arguing that Merian’s study of insect interactions with plants, the first of its kind, was a formative contribution to natural history. Read Kay Etheridge’s blogpost on “Art Herstory”. See inside the book.Trade ReviewIt is hard to choose between superlatives with which to characterize this modestly sized but highly significant volume. Focusing on one of best-known names in the history of natural history at the turn of the eighteenth century, Maria Sibylla Merian (1647–1717), it demonstrates that even the esteem in which she has been held fails to recognize the extent of her originality. Arthur MacGregor, Archives of Natural History 49.1 (2022): 224 "Highly recommended. Upper-division undergraduates. Graduate students and faculty. General readers." --A. L. Jacobsen (California State University, Bakersfield ), June 2022 issue of CHOICE "[...] after years of distortion, in the past few decades, her real contributions to entomology have started to come into view. The Flowering of Ecology: Maria Sibylla Merian’s Caterpillar Book by Kay Etheridge, with translations by Michael Ritterson, is a significant contribution to this effort." --Kim Todd (University of Minnesota), EMW Vol. 16 No. 2 • Spring 2022, 351-353Table of ContentsForeword  Brian Ogilvie Preface Acknowledgments List of Illustrations part 1: The Flowering of Ecology 1 Before the Transformation  Introduction  Art and Science Intertwined  Drawings/Manuscripts  Still Life Painting  Finding God in Nature  Natural History of Insects in Printed Works  Publishing Illustrated Natural History Books  Studies of Metamorphosis 2 A Life Investigated  Growing up in Frankfurt am Main  Early Fascination with Insects  Marriage and the Move to Nuremberg  The Flower Books  Beginnings of the Raupen Books  Merian’s Motivations 3 Described and Painted from Life  Fieldwork: The Basis of Merian’s Empirical Studies  Laboratory Work  Merian’s Study Journal  Merian’s Other Sources of Information  Illustrating the Raupen Book  Composing the Images  Making the Plates  Merian’s Counterproofs  Composing the Text of Her Book  Financing, Printing and Marketing the Raupen Book 4 For the Benefit of Naturalists  The Rupsen Books  The Last Caterpillar Book  Later Editions and Their Lasting Effects  Recognition and Reception by Near Contemporaries  Merian’s Influence on Natural History  Merian’s Reputation as a Naturalist part 2: Plates, Translation and Commentary Maria Sibylla Merian’s Caterpillar Book Appendix: Translation of Selected Entries from Maria Sibylla Merian’s Study Journal Bibliography Index

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Book SynopsisIn The World Upside Down in 16th Century French Literature and Visual Culture Vincent Robert-Nicoud offers an interdisciplinary account of the topos of the world upside down in early modern France. To call something ‘topsy-turvy’ in the sixteenth century is to label it as abnormal. The topos of the world upside down evokes a world in which everything is inside-out and out of bounds: fish live in trees, children rule over their parents, and rivers flow back to their source. The world upside down proves to be key in understanding how the social, political, and religious turmoil of sixteenth-century France was represented and conceptualised, and allows us to explore the dark side of the Renaissance by unpacking one of its most prevalent metaphors.Trade Review"Robert-Nicoud is to be applauded for introducing readers to a wealth of polemical treatises, emblems, and images that had significant contemporary importance, but many of which have fallen into near oblivion. [...] Overall, this is a fine book by a young scholar who brings to bear an impressive level of erudition to show his readers how the image of the world upside down evolves and becomes something much more menacing as the sixteenth century progressed." - Bruce Hyes, University of Kansas, in Emblematica: Essays in Word and Image, vol. 3., 2019, pp. 331-333Table of ContentsAcknowledgements List of Illustrations Abbreviations Introduction: The Sixteenth-Century World Upside Down 1 Adages, Paradoxes and Emblems  1 Erasmus’s Adages of Inversion  2 Paradoxes  3 Moral Emblems  4 Carnivalesque Emblems  5 Emblems of the Religious Wars  6 Conclusion 2 Rabelais’s World Upside Down  1 Carnivalesque Rituals  2 Grotesque Body  3 Wisdom and Folly  4 Conclusion 3 Religious Satire and Overturned Cooking Pots  1 The Cooking Pot Trope  2 Huguenot Satires  3 Rabelais’s Posthumous Tradition  4 Catholic Responses  5 Conclusion 4 Social and Cosmic Disorders  1 France as a World Upside Down  2 Millenarianism and Apocalypse  3 Monsters and Polemic  4 Conclusion General Conclusion Bibliography  Primary Sources  Secondary Sources Index Nominum

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Book SynopsisGrotesque and Caricature: Leonardo to Bernini examines these two genres across Renaissance and Early Modern Italy. Although their origins stem from Antiquity, it were Leonardo da Vinci’s early teste caricate that injected fresh life into the tradition, greatly inspiring generations of artists. Critical among them were his Milanese followers, such as Giovanni Paolo Lomazzo, and also Michelangelo and Sebastiano del Piombo as well as, notably, Annibale Carracci, Guercino, and Bernini among others. Their artistic production—drawings, prints, paintings, and sculpture—reveals deep interest in physical, physiognomic, and psychological observations with a penchant for humour and wit. Written by an international group of established and emerging scholars, this volume explores new insights to these complementary artistic genres. Contributors include: Carlo Avilio, Ilaria Bernocchi, Christophe Brouard, Sandra Cheng, Susan Klaiber, Michael W. Kwakkelstein, Tod A. Marder, Rebecca Norris, Lucia Tantardini, Nicholas J. L. Turner, Mary Vaccaro, and Matthias Wivel.Table of ContentsPreface and Acknowledgements  Lucia Tantardini, Rebecca Norris and Lucia Tantardini List of Figures Notes on Contributors Notes on the Text Monstrous Inventions: Caricature and the Grotesque in Early Modern Art  Sandra Cheng 1 Leonardo da Vinci’s Drawings of Busts of Old Men and Women with Monstruous Faces: Satire as Moral Criticism  Michael W. Kwakkelstein 2 Lomazzo’s Grotesque Heads Revisited  Lucia Tantardini 3 Sebastiano del Piombo’s Caricatural Gesture and the Path to Idealism  Matthias Wivel 4 Burlesque Irreverences: Domenico Campagnola and Ruzante in the Corte Cornaro  Christophe Brouard 5 Carracci’s Ritrattini Carichi and the ‘Origins’ of Caricature  Mary Vaccaro 6 Guercino’s Grotesque Heads and Caricatures  Nicholas Turner 7 Deformation as Revelation: A Monstrous Portrait by Bartolomeo Passerotti  Ilaria Bernocchi 8 Heavenly Bodies III: Bernini’s Caricatures and Copies  Tod Marder 9 Rudolf Wittkower, Bernini’s Caricatures (1931)  Translator Susan Klaiber 10 Jusepe de Ribera and the Grotesque: Between Science and Comedy  Carlo Avilio Bibliography

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Book SynopsisGateways to the Book investigates the complex image–text relationships between frontispieces and illustrated title pages on the one hand and texts on the other, in European books published between 1500 and 1800. Although interest in this broad field of research has increased in the past decades, many varieties of title pages and a great deal of printers and books remain as yet unstudied. The fifteen essays collected in this volume tackle this field with a great variety of academic approaches, asking how the images can be interpreted, how the texts and contexts shape their interpretation, and how they in turn shape the understanding of the text.Table of ContentsList of Illustrations Notes on the Editors Notes on the Contributors 1 Gateways to the Books: Early Modern Frontispieces – Introduction  Gitta Bertram, Nils Büttner and Claus Zittel PART 1: The Culture of the Frontispiece 2 Considerations on the History and the Analysis of Illustrated Title Pages  Gitta Bertram 3 Minerva in the Printshop: Publisher’s Advertising in Frontispieces and the Media Presence of Early Modern Printer-Publishers  Lea Hagedorn 4 The Frontispiece Portrait and Its Critics: Visual and Verbal Tactics for Undermining the Social Productivity of Printed Portraits in Early Modern Scholarly Culture  Hole Rößler PART 2: The Frontispiece between Art and Science 5 The Poetological Frontispiece in 17th-Century German Poetry  Claus Zittel 6 Lady Music, Pythagoras, Apollo & Co.: Frontispieces and Title Woodcuts in Music Theory Prints and Musical Textbooks around 1500  Fabian Kolb 7 Visualising the Constitution of Art: Frontispieces in “Kunstliteratur” in the Early Modern Period  Constanze Keilholz 8 When Mars Meets Euclid: The Relationship between War and Mathematical Sciences in Frontispieces of Fortification Treatises  Delphine Schreuder 9 Travels towards Humankind’s Salvation, Travels through Nature Enlightened by Science: Frontispieces on Africa and the Levant, 17th–18th Centuries  Cornel Zwierlein PART 3: Case Studies 10 A Moralistic Journey: The Tabula Cebes as an Architectural and Spatial Allegory in Sixteenth-Century Basel  Miranda L. Elston 11 Rubens’s Legacy in Book Design  Nils Büttner 12 The Title Page of Jacob van der Gracht’s Anatomie and 17th-Century Dutch Artists’ Education in Anatomy  Alice Zamboni 13 The Role of Multiple Frontispieces in the Cultus Sancti Francisci Xaverii  Alison C. Fleming 14 Juan Ricci de Guevara’s Introduction of Wise Painting  Martijn van Beek 15 The Architectural Folios of Jeremias Wolff  Daniel Fulco 16 Monumental Elements in Early 18th-Century Book Illustration: Jacob Tonson the Younger, George Vertue and the Illustrated Editions of the Works of Edmund Waller  Malcolm Baker Index Nominum

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